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i:5TUDY  and:5ong 


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EDITED.ARRANGED  AND   COMPOSED 

BY 

JOHN   W.  TUFTS 


)in/ER-buRDETT  5  Company 

PUBLISHERS 

B05TOM 
NEW  YORK  CniCACO 


John  :j-vett 


rr.i 


•  •  •  • 

•  •  •  •   • 

•  •  •  •     , 


•  •      • 

•••  • 

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'••-•-   •  • 


THE 


CECILIAN   SERIES    OF    5TUDY   AND    SON(^: 


COMMON  SCHOOL  COURSE; 

COMPRISING  STUDIES  IN  TUNE  AND  TIME,    WITH  SONGS 
FOB  PRACTICE  AND  RECREATION 

Part  I     For  one  voice  Part  II     For  two  voices 

Part  III     For  two  Sopranos  and  Alto, 

with  added  notes  for  Bass. 

EDITED,  ARRANGED,  AND  COMPOSED  BY 

JOHN  W.  TUFTS 


SILVER  BURDETT  &  COMPANY,  Publishers 

NEW  YORK  BOSTON  CHICAGO 


THE 


:C.edUan  Sci1c6  of  Stub?  anb  Song. 


FOP.  GiiADED  SCHOOLS  AND  CLASSES. 

Book     I.  —  For  One  Voice. 

Book   II.  —  For  Soprano  and  Alto  Voices. 

Book  III.  —  For  Unchanged  Voices.     With   added  notes  for 

Basses  and  Tenors. 
Book  IV.  —  For  Mixed  Voices. 

FOR  MIXED  SCHOOLS  AND  CLASSES. 

COMMON  SCHOOL  COURSE.    (One  Book. —Three  Parts.) 
Part     I.  —  For  One  Voice. 
Part   II.  —  For  Two  Voices. 

Part  III.  —  For  Two  Sopranos  and  Alto.     With  added 
notes  for  Bass. 


COPTRIQHT,  189.3, 

By  silver,  BURDETT  &  COMPANY. 

EDUCATION  DtPT. 


Typography  by  J.  Frank  Giles,  Boston,  U.S.A. 
Presiwork  by  Berwick  &  Smith,  Boston,  U.S.A. 


PREFACE. 

jIMii  usic  was  formerly  looked  upon  simply  as  an  accomplishment, 
J=B^ meaning  no  more  than  the  gratification  of  the  ear,  and  the 
average  pupil  seemed  to  believe  that  an  idea  of  this  pleasant  recrea- 
tion was  granted  to  a  favored  few  who  had  inherited  the  gift  of  song. 

These  specially  gifted  singers  had  little  exact  knowledge  of  the 
musical  sounds  represented  by  our  notation .  The  musical  ' '  hiero- 
glyphics" indicated  somewhat  vaguely  to  them  by  "position"  the 
higher  or  lower  tones,  and  the  lighter  or  darker  appearance  of  the 
page  their  longer  or  shorter  duration . 

Through  this  process,  analagous  to  guessing,  the  singers  obtained 
in  a  laborious  and  uncertain  manner  an  approximation  to  the  sounds 
that  the  composer  desired. 

This  uncertain  manner  went  on  for  many  years.  The  first  steps 
taken  were  in  the  direction  of  rote  or  imitative  singing  from  an  ex- 
ample given  by  a  teacher,  whose  vocal  attainments  were  of  the  most 
limited  and  doubtful  character. 

In  most  cases  the  results  depended  upon  the  imitative  abilities  of 
a  few  who  seemed  to  have  inherited  the  musical  faculty,  and  who  with 
more  or  less  certainty,  followed  or  corrected  the  rendering  given  by 
the  teacher. 

From  such  experimental  work  the  study  of  music  was  continued 
for  many  years  with  little  or  no  gain  to  the  many  pupils,  until  the 
school  commitee,  men  or  women,  w-ere  led  to  believe  that  music  was 
only  an  appeal  to  the  auditory  nerves  during  the  recital  of  words  hu- 
morous, moral,  or  patriotic. 

The  country  singing  schools  in  a  measure  dispelled  this  illusion, 
but  the  numbers  influenced  were  comparatively  few,  as  the  atten- 
dant singers  were  adults  or  persons  with  matured  voices. 

Attempts  have  been  made  from  time  to  time  to  extend  the  field 
of  study,  and  this  book  has  been  prepared  in  the  endeavor  to  convince 
singers  that  the  knowledge  of  music  in  tune  and  time  is  acquired 
with  great  ease,  and  that  this  study  may  be  placed  on  an  equality 
with  any  other. 

3 

54  3;)53 


The  study  of  music  is  as  useful  as  any  other  of  the  branches  of 
school  work,  in  the  development  of  mental  concentration,  and  it  has 
the  additional  advantage  of  pleasant  tones  combined  with  words  of 
an  instructive  and  elevating  character. 

The  language  of  music  should  first  be  studied  unaccompanied 
with  words,  for  this  language  is  full  of  individual  suggestions  to 
each  singer. 

These  suggestions,  always  pure  and  pleasurable,  are  found  in  the 
many  examples  furnished  as  exercises.  The  practice  of  the  music 
of  the  songs  should  always  precede  the  application  of  the  spoken 
words. 

In  this  way,  no  uncertainty  remaining  in  the  production  of  the 
tones,  the  words  can  be  uttered  with  freedom,  and  there  will  be  no 
hesitation  in  the  expression  of  the  sentiment  required  to  give  them 
a  satisfactory  effect. 

All  the  necessary  shading  through  graduated  force  or  rapidity 
will  be  readily  given  as  in  good  reading,  and  an  enjoyable  result  is 
sure  to  be  gained. 

That  music  in  all  our  schools  may  secure  a  higher  position,  one 
that  it  certainly  deserves,  is  the  strong  desire  of  the  author,  and  he 
feels  confident  that  such  a  result  may  be  attained.  To  this  end  he 
has  prepared  this  little  volume  as  a  contribution  to  the  art,  and  with  the 
ardent  hope  that  many  will  be  induced  to  give  this  art  the  thought  and 
labor  necessary  to  afford  them  mental  pleasure  and  profit  through  the 
production  of  musical  and  finished  sounds  in  melodious  succession. 

It  is  chiefly  to  the  children  and  youth  that  we  must  look  for  suc- 
cess. Let  them  "do"  and  teachers  need  feel  no  solicitude  for  the  result. 

Knowledge  gained  in  this  way  is  always  the  most  valuable,  and 
through  this  we  shall  find  the  many  thousands  growing  up  thorough- 
ly competent  to  judge  of  the  musical  value  of  the  printed  page. 

John  W.  Tufts. 


INDEX 


A  birdie  with  a  yellow  bill     .....  20 

A  cooling  breeze       90 

A,  e,  i,  o,  u 59 

All  things  bright  and  beautiful  ....  35 

All  ye  nations 77 

Ark  of  freedom 133 

A  rosy  crown  we  twine 138 

Arouse  up,  ye  sleepers 84 

Awake,  my  soul 156 

A  wicked  action  fear  to  do 52 

Birds  in  the  pine  woods 123 

Brothers,  hand  in  hand 130 

Buds  and  bells 81 

Come,  children,  to-day 68 

Come  out  of  your  beds  there      ....  36 

Day  by  day  we  magnify  Thee    ....  87 

Dearest  home 136 

Dear  little  birdie 32 

Don't  you  hear  the  blue-bird      ....  28 

Down  by  the  Neckar  stream 84 

Down  in  the  fairy  dell 26 

Drop,  drop,  drop 34 

Every  flower  and  every  tree 39 

Freedom 149 

God  is  love 71 

God  of  heaven  ! 43 

Hail,  all  hail ! 126 

Hark,  I  hear  a  joyous  note 137 

Heavenly  Father 151 

Here  we  go  up 57 

Holy,  holy,  holy 154 

Home,  sweet  home 142 

How  calmly  gliding 44 

How  many  deeds  of  kindness     ....  49 


I  am  a  bold  fellow .  63 

If  I  a  bird  could  be 85 

If  I  were  a  bird 31 

I  know  the  organ 33 

I'm  a  pretty  little  thing 76 

In  the  wondrous,  lovely  month  ....  135 

Kind  words  are  the  gardens 45 

Kind  words  can  never  die 37 

Listen,  how  the  bells  are  pealing    ...  43 

Little  moments  make  an  hour    ....  42 

Little  robin  in  a  tree 94 

Look  not  on  the  wine 152 

Lullaby,  baby 56 

Murmur,  gentle  lyre 127 

My  country,  'tis  of  thee 160 

My  Shepherd  will  supply  my  need  .     .     .  155 

My  soul,  be  on  thy  guard 159 

Now  thank  we  all  our  God 157 

Now  we'll  all  go  a-singing 19 

O  bright  blue  sky 41 

Of  birds  who  sing 61 

Of  speckled  eggs  the  birdie  sings     ...  45 

Oh,  tell  me  dreams 44 

Oh,  the  sunny  summer  time  !      .     .     .     .  51 

O  lovely  bright  star 38 

On  goes  the  river 30 

On  the  wings  of  morning 134 

O  Paradise 158 

Our  roses  bloom 52 

Put  out  the  light 88 

Robin  Redbreast 29 

Said  a  pansy  one  day 37 

See  how  fast  the  snow  is  falling      ...  42 

Sing  a  song  of  seasons  I 22 


(5) 


Sister,  awake 88 

Song  fills  our  life  with  beauty    ....  90 

Song  for  Arbor  Day 144 

Song  for  Decoration  Day 141 

Song  should  breathe 124 

Song  to  the  flag 145 

Spring-time  is  drawing  near 80 

Stars  are  shining  everywhere      ....  35 

Summer  fading,  winter  comes    ....  46 

Summer  suns  are  glowing 62 

Suppose  the  earth  was  barren     ....  40 

Sweet  bells 128 

Sweet  spring  is  returning 93 

Tell  me  what  the  brook  doth  sing   ...  69 

The  air  is  balmy  and  serene 54 

The  best  of  wine  for  children     ....  27 

The  breakhig  waves 139 

The  cuckoo  sat  in  the  old  pear  tree     .     .  83 

The  festive  day 125 

The  finches  are  singing 25 

The  fitful  April  sunshine 55 

The  flowers  are  blooming  everywhere      .  53 

The  friendly  cow 29 

The  golden  glow  is  paling 74 

The  harp  that  once 146 

The  lark  is  so  brimful  of  gladness  ...  47 

The  linden  tree 132 

The  Master's  call 150 


PAGE 

The  moon  is  up  in  splendor 71 

The  morning  stars 147 

The  rain  is  raining 38 

There's  not  a  tint 91 

There  once  lived  a  pretty  your.g  kitten    .  21 

There  was  a  man  in  our  town     ....  63 

There  was  an  old  woman 50 

The  rosy  morn  is  breaking 67 

The  seed  that  springs 60 

The  spring-tide  hour 53 

The  stormy  March  is  come 51 

The  valley  rings  with  mirth 49 

The  world.is  so  full 57 

They  who  on  the  Lord  rely 154 

Through  the  restful  night 79 

Through  the  silent  hours 25 

Trust 153 

Under  the  green  hedges 60 

Upon  the  wall,  who's  sitting?    ....  46 

We  builded  a  house 81 

We'll  bring  to  the  Spring-time    ....  68 

When  find  we  at  sunset 72 

When  the  rosy  morn 131 

When  verdure  clothes 143 

Where's  the  use  of  sighing 96 

While  my  maiden's  spinning      ....  64 

With  the  morning's  rosy  light    ....  20 

With  welcome  and  with  cheerful  song      .  36 


(6) 


'TAe  aim  of  education  is  rather  to  show  how  to  think,  than  to  load  the  memory  with  the 
thoughts  of  others.'''' 


HINTS    AND    DIRECTIONS    TO    TEACHERS. 


IN  order  to  sing  at  sight  two  mental  opera- 
tions are  necessary. 

1.  A  comprehension  of  the  relative  pitch  of 
sounds. 

2.  A  comprehension  of  their  relative  length. 
The  first  enables  us  to  sing  in  tune  ;  the  sec- 
ond, to  sing  in  time. 

These  being  known,  the  characters  required 
in  their  representation  may  be  studied,  but  the 
order  should  never  be  reversed. 

In  the  Common  School  Course  no  rote  or 
imitative  work  is  required.  If  any  rote  work 
is  done,  it  should  be  outside  of  the  music  pre- 
sented in  the  book. 

On  the  part  of  the  teacher  there  should  be 
the  ability  to  sing  the  scale  in  accurate  tune, 
with  a  ready  perception  of  the  difference  be- 
tween one  and  two,  and  three  and  four  of  the 
Major  Scale,  the  whole  and  half- step,  or  tone. 

Should  the  teacher  be  unskilled,  or  defective 
in  ear,  it  is  believed  that  the  requisite  ability 
can  be  gained  by  a  careful  practice  of  the 
ascending  and  descending  Major  Scale.  It 
may  be  learned  outside  the  schoolroom  with 
the  assistance  of  an  instrument ;  and  in  a  class 
there  are  always  those  to  be  found  who  pos- 
sess the  skill  necessary  to  produce  these  tones 
correctly. 

Let  the  teacher  then  carefully  follow  the 
tables  of  figures,  going  very  slowly ;  indeed, 
never  leaving  an  exercise  until  it  has  been 
sung  in  accurate  tune  and  with  facility  and 
certainty  of  attack. 

It  will  be  seen  that  the  range  of  exercises 
and  songs  is  a  limited  one,  and  that  the  voices 
are  not  led  so  high  as  to  require  effort  in  the 
production  of  the  tones.  There  is  one  safe 
rule  that  can  be  followed  as  a  guide  :  A  ttempt 
no  tone  that  cannot  he  sung  softly. 

For  practice,  use  different  vowels,  such  as 
a,  a,  o,  e,  or  u.  Endeavor  to  make  the  tones 
softly  and  musically,  avoiding  all  rigidity  or 
extravagance.  Breathe  easily  and  naturally. 
Avoid  a  listless  or  careless  position. 


In  singing,  children  gladly  do  what  they 
know  how  to  do,  and  they  enjoy  working  out 
little  problems  in  tune  and  time  if  they  thor- 
oughly understand  the  necessary  underlying 
principles. 

Doubt  causes  most  of  the  "out  of  tune" 
singing. 

If  the  singers  know  the  tones,  of  which  the 
notes  are  the  representations,  they  will  sing 
with  earnestness  and  in  tune. 

Let  them  understand  that  our  songs  must 
first  be  known  without  words.  The  language 
of  music  is  full  of  beauty  and  suggestion,  and 
when  this  is  known  it  will  afford  delight  to 
all. 

In  the  beginning,  therefore,  let  the  class 
practise  with  great  care  the  simple  Major 
Scale,  ascending  and  descending,  learning  it 
at  first  simply  as  a  tune,  and  then  in  its  parts, 
knowing  each  individual  tone  by  its  real  name 
or  number. 

These  names  or  numbers  serve  to  keep  in 
the  singers'  minds  the  relation  of  each  tone  to 
the  key-note. 

Begin  every  lesson  with  this  practice.  The 
following  tables  will  give  an  idea  of  the  se- 
ries of  exercises  which  will  be  called  by  the 
teacher.  Never  leave  any  exercise  until  it 
can  be  sung  with  a  certainty  of  attack  and  an 
ease  of  delivery. 

It  will  be  seen  that  all  these  exercises  are 
written  above  the  pitch  of  one,  or  the  key-;jpte. 

For  practice,  take  a  pitch  that  will  allow  the 
singers  to  sing  the  whole  scale  without  effort 
in  the  production  of  the  tones. 

C,  0%,  I),  E|^,  and  E  are  suggested  as  the 
best  starting-points. 

Mental  study  of  the  Major  Scale  above  the 
key-note. 

Call  the  Groups  1,  2,  3,  4  in  succession. 

These  numbers  are  arranged  in  a  systematic 
order,  and  in  practice  of  them  the  characteristic 
mental  effect  of  each  sound  will  be  developed 
in  the  mind  of  the  singer. 


(7) 


No.  1. 

1. 

1,2,3,4.5,6,7,8.-8,7,6,  5,  4, 

1. 

3,  2,  1. 

2. 

2. 

1,2,1,-1,2,3,1.-1,2,3,4,1. 

3. 

1,  2,  3,  4,  5,  1. 

3. 

4. 

1,2,3,4,5,4,5,4,3,5,4,3,2,5,1. 

5. 

1,2,2,1,-1,2,3,3,2,  l.-l,  2, 

4. 

3,  4,  4,  3,  2,  1. 

5. 

6. 

1,  2,  3,  4,  5,  5,  1,  5,  4,  3,  2,  1. 

6. 

7. 

1,  2,  3,  4,  5,  5,  4,  3,  5,  4,  3,  2,  5,  1. 

8. 

1,  2,  3,  4,  5,  6,  7,  8,  8,  7,  8. 

7. 

9. 

8,7,6,8.-8,7,6,5,8.-8,7,7,8. 

8. 

10. 

8,7,6,6,7,8.-8,7,6,5,5,6,7,8. 

9. 

11. 

8,7,8.-8,7,6,7,8.-8,7,6,5, 
6,  7,  8. 

10. 

12. 

1,2,3,1,3,2,1.-1,3,5,3,1. 

11. 

13. 

1,  3,  5,  8,  5,  3,  1. 

12. 

No.  2. 


1. 

1,2,3,1,3,1,3,2,1.-1,2,3,4, 

1,  4,  1,  4,  3,  2, 1. 

1. 

1,  2,  1, 

2. 

1,  2,  3,  4,  5,  1,  5,  1,  5,  4,  3,  5,  4,  3, 

2. 

1,  3,  5, 

2,  5,  1. 

6,5, 

3. 

1,2,3,4,5,6,1,6,1,6,5,4,3,4, 

3. 

1,  5,  6, 

3,  2,  3,  2,  5,  1. 

5,3, 

4. 

1,  2,  2,  3,  4,  2,  4,  2,  1. 

4. 

1,  3,  5, 

6. 

1,  2,  3,  3,  4,  5,  3,  5,  3,  4,  2,  1. 

5,3, 

6. 

1,  3,  5,  3,  4,  2,  1. 

5. 

1,  4,  6, 

7. 

1,  2,  3,  4,  4,  5,  6,  4,  6,  4,  5,  3,  4,  2, 

6. 

3,5,4, 

3,  2,  1. 

7. 

3,  8,  5, 

8. 

1,  2,  3,  4,  4,  3,  2,  4,  2,  4,  3,  2,  1. 

2,3, 

9. 

1,3,2,4,3,5,4,2,1.-1,3,5,6, 

8. 

4,  3,  2, 

4,  2,  1. 

2,3, 

10. 

1,  5,  4,  3,  5,  4,  3,  2,  4,  3,  2,  1. 

9. 

5,  6,  5, 

11. 

1,  2,  3,  4,  2,  3,  4,  5,  3,  4,  5,  6,  7,  5, 

10. 

1,  6,  5, 

8,  7,  8,  6,  4,  2,  1. 

11. 

1,  3,  5, 

12. 

1,  3,  5,  7,  8,  6,  4,  2,  1. 

12. 

1,4,3, 

No.  3. 

1,2,3,2,  3,  2—2,3, 
2,3,4,5,2,5,2.-2, 
6,2. 

2,  3,  4,  5,  6,  7,  2,  7,  2. 

6,  7,  8,  2,  8,  2,  1. 
1,2,3,4,3,4,3—3, 
3,4,5,6,3,6,3.-3,4, 

3,  4,  5,  6,  7,  8,  3,  8,  3, 
3,  4,  5,  4,  5,  4. 

4,5,6,4,6,4—4,5, 
4,5,6,7,8,4,8,4.-4, 
1,2,3,4,5,6,5,6,5.— 
5,6,7,8,  5,8,5.-1, 

7,  6,  7,  6. 
1,3,5,6,  7,5,6.-6, 
1,  8,  7,  8,  5,  7,  5,  3,  1. 

7,  5,  4,  2,  1. 


4,  2,  4,  2. 

3,  4,  5,  6,  2, 

-2,  3,4,5, 

4,  5,  3,  5,  3. 

5,  6,  7,  3,  7, 3. 
2,  1.— 1,  2, 

6,  7,  4,  7,  4. 
3,2,4,3,2,1. 
5, 6, 7, 5, 7, 5. 
2,  3,  4,  5,  6, 

7,  8,  6,  5,  6. 
-1,3,5,8, 


No.  4. 

3,^,6,5.^5,2,4,3,2,3,1. 

3,4,3,2,1.-1,  3,5,3,4, 

3,1. 

8,  6,4,  5,  1.  — 1,  8,  6,  8,  1, 

5,1. 

3,4,6,8,  6,  5.  — 1,  8,  6,  4, 

1. 

8,5,3,1.-1,8,6,4,2,5,1. 

6,2,5,3—3,4,6,5,4,2,1. 

3,2,5,4,2,1.-3,  6,  5,  1, 

1. 

1,5,2,4,3,1.-4,  6,  5,  1, 

1. 

1,2,3,1.-5,3,6,5,6,7,8. 

8,8,7,8.-6,5,7,6,5,2,3. 

7,8,3,5.-1,8.6,4,2,5,1. 

6,5,7,8.-8,5,6,4,2,5,1. 


(8) 


Before  going  further  with  these  scale  exer- 
cises, practice  may  and  should  be  given  in 
time.  Let  it  be  understood  that  the  study  of 
music  in  the  school  should  be  such  as  will 
enable  the  singer  eventually  to  solve  any 
questions  in  tune  or  time,  unaided  by  a 
teacher.  Time  in  music  is  the  most  difficult 
of  acquirement,  for  the  memory  of  values  is 
a  very  uncertain  factor.  There  must  be  some 
unerring  agent  and  guide  always  at  hand. 

In  the  absence  of  a  tape  metronome  the 
teacher  may  take  a  string  about  three  feet 
long,  with  a  small  weight  attached  to  the  end. 

This  can  be  suspended  by  tying  the  other  end 
to  a  hook  or  nail  over  the  blackboard,  where 
all  can  see  it  as  it  swings  back  and  forth. 

Keeping  time  is  gained  by  a  feeling  for  the 
regularly  recurring  accents  of  the  measure. 

The  accents  must  be  known  and  felt  in  the 
measures  of  two,  three,  four,  and  six  parts. 

The  teacher  can  indicate  these  accents  by 
speaking  the  word  strong  in  a  short,  sharp, 
but  not  loud  tone,  as  the  pendulum  swings 
back  and  forth.    The  accents  are  as  follows :  — 

1.  Two-part  measure  has  one  accent,  upon 
the  first  pulsation  or  swing :  — 

Strong,  weak  \  strong,  weak  \  strong,  weak. 

2.  Three-part  measure  has  also  one  accent 
upon  the  first  pulsation.  This  accent  may 
need  to  be  stronger  than  in  two-part  measure. 

Strong,  weak^  weak  \  strong,  weak^ 
weak  I  strong,  weak,  weak. 

3.  Four-part  measure  has  two  accents,  — 
a  strong  one  on  the  first  and  a  weaker  one  on 
the  third  pulsation. 

Strong,  iceak.  strong,  ii^eak  \  strong, 
^veak,  STRONG,  iveak. 

Be  sure  to  preserve  the  contrast  between 
the  first  and  second  accents. 

4.  Six-part  measure  has  two  accents,  —  a 
strong  one  on  the  first  and  a  weaker  one  on 
the  fourth  pulsation. 

Strong,  weak,  weak,  strong,  iceak,  weak,  etc. 

Each  of  these  measures  should  be  practised 
a  long  while,  or  until  the  accents  can  be  felt 
and  continued. 

Do  not  change  quickly  from  one  kind  of  a 
measure  to  another.  Let  each  be  fully  im- 
pressed upon  the  mind  through  many  repe- 
titions. 

These  accents  must  be  felt,  and  this  feeling 


must  be  gained  mentally.  No  physical  mani- 
festation is  necessary.  When  made,  it  is 
directed  by  the  mind,  and  its  accuracy  can- 
not be  fixed  without  some  visible  outside 
guide.  If  this  accuracy  is  once  gained,  any 
beating  is  not  needed. 

To  acquire  unity  in  song-singing  the  beat 
of  the  teacher  is  necessary,  and  if  the  singers 
have  gained  a  comprehension  of  absolutely 
accurate  time,  at  varying  degrees  of  rapidity, 
they  will  readily  follow  the  baton  of  the 
teacher.  Of  course,  in  expressive  singing  a 
variety  of  movement  is  necessary,  but  this 
cannot  be  gained  until  absolute  uniformity  is 
first  attained. 

Let  the  pulsation  of  the  pendulum  be  started 
from  time  to  time  so  that  all  may  see  its  move- 
ment. 

The  length  of  the  pendulum,  and  not  the 
length  of  its  movement,  determines  the  rapidity. 

This  metronome,  or  time-keeper,  is  a  silent 
monitor,  always  exact,  and  it  causes  the 
teacher  little  or  no  trouble. 

Having  established  these  mental  facts,  atten- 
tion should  be  given  to  the  notation. 

For  this  purpose  draw  the  major  scale  from 
C  in  the  following  manner.  Dots  may  be  used 
instead  of  notes.     See  page  17. 

The  teacher  will  ask  the  class  to  sing  the 
scale,  using  the  real  names  1,  2,  3,  4,  etc., 
ascending  and  descending.  This  must  then  be 
done  with  great  care,  using  different  vowels, 
such  as  may  be  necessaiy  to  correct  obvious 
defects  in  tone  quality.  Do  not,  however, 
confine  the  class  to  any  one  vowel  for  a  long 
time.  Changed  vowels  will  be  of  great  value 
in  future  song-singing. 

When  the  scale  has  been  established,  prac- 
tise at  call  from  the  four  tables,  which  give  the 
intervals  above  the  key-note  or  one.  A  little 
practice  will  convince  the  teacher  of  the  value 
of  this  preliminary  study.  Through  looking 
at  the  staff  and  notes  the  singers  will  readily 
learn  the  positions. 

When  this  has  been  done,  the  class  may  be 
called  upon  for  the  pitch  names,  when  they 
will  respond  by  singing  the  ascending  and  de- 
scending scale  with  the  pitch  names  C,  I),  E, 
etc. 

Attention  may  be  called  to  the  clef,  which 
fixes  the  position  of  G  upon  the  second  line. 

It  is  called  on  this  account  the  G  clef. 

The  practice  in  time  can  now  follow,  guided 
by  the  swinging  pendulum.  The  French  time- 
names  are  of  great  value  in  order  to  give  names 
to  every  fraction  of  the  measure,  and  this 
determines  the  relative  values  of  the  notes  in 


(9) 


the  easiest  manner.  Should  objection  be  urged 
against  their  use,  the  exercises  in  time  on  page 
17  may  be  practised,  comparing  the  time  values 
with  the  swinging  of  the  pendulum.  Use  the 
syllable  "la,"  speakijig  the  word  sharply.  Do 
not  sing. 

This  preparatory  work  having  been  done, 
the  exercises  of  the  book  may  be  taken  up  in 
regular  order. 

In  Exercise  2  explain  the  tie,  and  in  3  the 
half-note,  or  union  of  two  pulsations.  When 
a  note  is  repeated,  the  syllable  "la"  is  intro- 
duced in  order  to  facilitate  the  articulation, 

A  knowledge  of  the  signs  used  in  music 
notation  is  necessary  on  the  part  of  the  teacher, 
and  they  may  be  given  names,  etc. ,  as  they  are 
successively  introduced. 

The  little  one-part  songs  are  especially  in- 
tended for  the  youngest  singers,  but  it  is  hoped 


that  the  older  members  of  the  class  will  not 
consider  them  unworthy  their  consideration. 

The  exercises  find  their  illustration  iu  the 
songs.  Study  the  music  and  add  the  words 
after  this  has  been  thoroughly  learned.  In 
this  way  there  will  be  no  impediment  in  using 
the  words,  and  a  freedom  will  be  gained  that 
is  hardly  attainable  in  any  other  way. 

The  same  course  of  study  will  be  pursued  on 
pages  20,  21,  22,  and  23. 

Preparatory  work  will  be  necessary  for  the 
next  key. 

For  this  purpose  the  second  series  of  num- 
bers, in  four  groups,  must  be  brought  into  use 
for  interval  work.  The  scale  is  here  practised 
above  and  below  the  key-note  or  one. 

These  tables  of  figures  give  all  the  necessary 
mental  work  in  preparation  for  the  next  key. 


SECOND   SERIES. 
Progressive  Exercises  in  the  Major  Scale,  above  and  below  the  Key-note, 

Note.  —  In  Italics  below  the  key-note.    1-8  descending.     8-1  ascending. 


No.  1. 

12. 

1. 

1,  2,  3,  4,  5,  4,  3,  2,  1. 

13. 

2. 

1-^,  7,  6,  5,  6,  7,  8.                       < 

14. 

3. 

1,  2,  3,  4,  5,  4,  3,  2,  1-8,  7,  6,  5,  < 

15. 

4. 

1-5,7,6,5,6,  7,5-1,2,3,  4,5,''. 

^4, 3, 2,  1.            ^                    2 

1. 

5. 

1,  2,  1,  2,  1.                                    » 

9 

6. 

1-8,  7,  8,  7,  8.                              1 

^. 

^^                                                                                                 ft 

3. 

7. 

1-.9,  7,  8-1,  2, 1.                             § 

■s_^                       ^w-                                                                                          « 

4. 

8. 

1,  2,  3,  2,  3,  2,  1.                           5 

9. 

1-^,  7,  6',  7,  6',  7,  8. 

5. 

10. 

1T2, 1-8,  7,  6,  7,  8. 

6. 

\^^ 

7. 

11. 

1,  2,  3,  4,  3,  2,  1-8,  7,  8. 

8. 

1-8,  7,  6,  5,  6,  7,  8-1,  2,  1. 
1^,  7,  8,  7,  6,  7,  8^ 
1^8,  7,  8-1,  2,  3,  2,  1. 
172,  3,  2^1^,  7,  6,  7,  8, 

No.  2. 

1-8,  7,  8-1,  2,  1-8,  7,  2,  1. 

U8,  7,  2ri,  2,  7>. 

172,  3,  1-8,  6,  7,  8. 

1,  2,  3,  2^1-8,  7,  8-1,  3,  7,  8. 

1-8,  7,  6,  7^8,  6,  27l. 

l72,  4,  3,  2,  7,  8. 

1,  3,  4,  7,  8. 

1,  3,  2,  4,  7,  2,  1. 


(10) 


9.  1,  4,  6,  7,  8. 

10.  1-8,  7,  6,  2,  1-8,  7,  8. 

11.  U8,  6,  Z,  2,  6^7,  8, 

12.  iTs,  7,  8-1,  2,  7,  8. 

13.  1,  3,  6,  8^7,  2,  1. 

14.  1-8,  6,  7,  Z,  2,  1. 

15.  U8,  5,  8-1,  3,  2,  1. 
IG.  1^4,  1-8,  6,  7,  8. 

17.  1-8,  6^5,  6,  8-1,  3,  4,  3,  1. 


No.  3. 


1. 

3,  1,  6,  2,  1-8,  7,  8. 

^-y 

2. 

3,  5,  3,  1-8,  6,  2,  7,  8. 

\_^ 

8. 

Z,  4,  3,  1-8,  6,  7,  8. 

-^^ 

4. 

Z,  1-8,  5,  8-^,  7,  2,  1. 

5. 

3,  sTl,  3,  6^7,  8. 

6. 

Z,  1,  6,  2,  5,  7,  8. 

7. 

Z,  4,  6,  7,  8. 

8. 

5,  3,  1-8,  5,  6,  7,  8. 

9. 

5,  5,  8^,  Z,  2,  7,  8. 

10. 

5, 1,  Z^5,  8-1,  2,  1. 

V • 

11. 

5,  3,  4,  2,  1-8,  7,  8. 

\„^ 

12. 

6,  2,  Z,  1-8,  6,  7,  8. 

13. 

5,  4,  3,  1^,  5,  7,  8. 

s,.^^ 

14. 

5,  8,  6,  2,  1-8,  7,  8. 

15. 

5,  6,  5,  8-1^7,  2, 1. 

s_^ 

16. 

5,  8-^,  2,  Z,  4,  7,  8. 

17. 

5,  8^1,  4,  3,  2,  7,  8. 

s • 

18. 

5,  2, 1,  Z,  2,  4,  3. 

19. 

6,  Z,  1,  Z,  2,  7,  8. 

20. 

5,  7,  2,  1,  4,  2,  1. 

21. 

a,  6,  7,  2,  1,  4,  3. 

No.  4. 

1. 

2,  1,  4,  3,  2,  7,  8. 

2. 

2,  4,  3,  2,  1-8,  7,  8. 

3. 

2,  Z,  2,  Z,  4^7,  8. 

4. 

2,  7,  8,  5,  8-1,  2,  1. 

5. 

2,  Z,  4,  7,  8^1,  2,  1. 

6. 

2,  4,  2,  7,  5:^7,  8. 

7. 

2,  6,  7,  8-1,  4,  2,  1. 

\^_^ 

8. 

2,  5,  Z,  1,  2,  5,  8. 

9. 

7,  8-1,  4,  3,  2,  7,  8. 

10. 

7,  5>-l,  4,  3,  2,  1. 

11. 

6,  7,  8^7,  8-1,  2,  1. 

12. 

6,  5,  6,  7,  8^1,  2,  1. 

•^^ 

13. 

6,  8,  7,  2,  1,  4,  3. 

14. 

tf,  5,  8,  7,  4,  2,  1. 

15. 

6,  2,  1,  4,  3,  2,  3,  1. 

16. 

6,  4,  3,  2,  1-8,  7,  8. 

s.^^ 

17. 

6,  8,  7,  4,  3,  7,  8. 

18. 

4,  2,  7,  8-1,  2,  7,  8. 

19. 

4,  5,  3,  Cz,  7,  8. 

20. 

4,  7,  8-1,  2,  e,  7,  8. 

^W 

21. 

4,  3,  6,  7,  8-1,  2, 1. 

22. 

4,  2,  5,  7,  *:i,  2,  6,  7,  8. 

23. 

4,  5,  3,  1,  4^7,  8. 

The  scale  from  G  is  next  given  (page  23) 
with  its  real  and  then  with  its  pitch  names. 

The  words  "  sharp  "  and  "  tlat "  are  at  pres- 
ent merely  names,  and  no  time  need  be  spent 
in  explanation. 

The  tables  of  figures  afford  the  requisite 
discipline,  and  when  the  facts  have  been  well 
established,  practice  should  be  made  in  the 
notation,  beginning  as  in  the  scale  from  C. 

Write  the  scale  upon  the  board  in  dots, 
instead  of  notes,  as  was  done  in  the  C.  An 
example  will  be  found  on  the  23d  page. 

The  teacher  will  then,  using  the  tables  of 
figures,  call  for  the  same  in  the  notation,  using 
a  pointer. 


(11) 


The  class  will  be  called  upon  to  respond  in 
tone,  using  some  chosen  vowel. 

The  movement  of  an  exercise  or  song  must 
not  be  governed  by  the  kind  of  notes  ;  for  in- 
stance, if  necessary,  a  „  measure  may  be  taken 

2      3       3 

as  fast  as  ^,  a  2  as  g. 

Make  the  movement  to  correspond  with  the 
sentiment  of  the.  words  at  all  times. 

Children  should  become  familiar  with  this 
idea,  and  sing  fully  in  sympathy  with  it.  Do 
not  spare  repetition  to  attain  this  result. 

Each  exercise  and  song  presents  some  prob- 
lem of  more  or  less  difficulty.  This  peculiar 
diflBculty,  whether  in  tune  or  time,  should  be 
overcome  by  outside  preparatory  work,  as 
the  case  may  require.  In  exercises  in  time 
each  measure  or  group  may  be  the  object  of 
special  study,  and  should  have  many  repeti- 
tions. 

After  C  and  G  the  scale  representation  is 
taken  up  in  order  through  nine  keys,  and  each 
should  be  carefully  corTsidered.  Attention  is 
called  to  the  words  of  the  songs.  No  teacher 
can  fail  to  see  that  these  little  poems  may  be 
made  of  general  value  in  the  school  work. 
Should  this  work  in  its  earlier  stage  seem 
slow,  it  must  be  considered  that  the  singers 
are  hereby  learning  to  read  music  as  they  do 
the  English  language,  silently  or  audibly,  and 
that  they  are  storing  up  for  the  future  numer- 
ous music  pictures,  which  may  and  will  be 
recalled  with  pleasure  and  profit  in  after 
years. 

The  anticipation  of  an  accent,  first  illustrated 
in  the  seventh  measure  of  the  time  exercise  on 
page  17,  should  receive  a  stronger  than  the 
regular  accent.  It  should  be  quite  pronounced. 
It  is  called  a  syncopation. 

In  some  keys  the  scale,  when  taken  in  regu- 
lar order,  may  go  too  high  or  low  for  regular 
practice.  In  such  cases  use  a  pitch  that  will 
not  require  exertion  in  singing.  Remember 
that  no  tone  can  be  good  that  cannot  be  sung 
softly.  Let  everything  be  pure  and  tuneful. 
It  will  then  be  a  delight  to  both  singers  and 
hearers. 

Each  part  of  the  course  treats  of  nine  keys. 
These  are  the  most  frequently  used.  Those 
not  introduced  are  the  following  :  — 


p w 

B     Cjf  DjfE     Fj}  G     Ajj:  B 


M 


fc^: 


#— ^ 


-0 ^ 


i 


Dl?  Et?  F     Gi?  A|7  Bl?    C     Dl2 


_, — •_ 


G\?  AMI^Cl?  Dl?  E      F    Gl? 


PART  II. 

This  is  prepared  for  two  voices,  soprano  and 
second  soprano  or  alto. 

The  teacher  should  carefully  examine  the 
individual  voices  and  assign  them  to  the  parts 
to  which,  in  his  or  her  best  judgment,  they  are 
more  naturally  fitted.  Do  not  hesitate  to 
change,  if  longer  practice  determines  that  all 
the  tones  are  not  produced  with  facility. 

The  former  practice  is  continued,  even  in 
the  interval  tables.  It  will  now  be  seen  that 
every  scale  notation  must  be  practised  below 
as  well  as  above  the  key  note  or  one,  and  too 
much  practice  upon  this  mental  scale  is  hardly 
possible ;  for  when  this  is  established,  the  sign, 
or  representation,  presents  very  few,  indeed 
no  difficulties. 

In  the  practice  so  far  nothing  has  been  said 
about  differences  in  distance  from  degree  to 
degree. 

The  scale  has  been  sung  simply  as  a  tune, 
or  succession  of  sounds. 

This  series  has  a  mathematical  basis  from 
which  it  differs  slightly  in  pitch. 

Some  have  called  our  Major  Scale  the  natural 
scale.  Were  it  so,  our  labors  would  be  dimin- 
ished. There  would  be  no  differences  any- 
where. It  is  found,  however,  that  there  are 
numberless  differences  among  barbai^us,  semi- 
civilized,  and  civilized  nations. 

An  arbitrary  arrangement,  not  departing  to 
a  great  extent  from  the  mathematical  series, 
has  been  adopted,  which  answers  every  pur- 
pose in  the  expression  of  ideas  in  music. 

The  slight  differences  between  the  true  and 
the  modified  scale  have  been  dwelt  upon  and 
magnified  until  the  subject  has  become  weari- 
some. It  is  sufficient  to  accept  the  established 
scale.  It  has  sufficed  for  all  the  great  masters, 
and  surely  ought  to  satisfy  our  modem  ears. 


(12) 


After  awhile  the  distance  between  1  and  2,  2 
and  o,  4  and  5,  5  and  6,  6  and  7,  will  be  felt  to 
be  greater  than  between  3  and  4,  and  7  and  8. 

Between  the  first  may  be  inserted  other 
tones,  occupying  points  midway. 

The  fii-st,  belonging  to  the  Major  Scale,  are 
called  diatonic  tones ;  the  second  are  called 
chromatic. 

These  intermediate,  or  foreign,  tones  were  for- 
merly written  in  colored  ink — hence  the  name. 

In  this  Second  Part,  three  of  these  chromatic, 
or  colored,  tones  are  introduced  for  practice. 

They  are  called  sharp  or  elevated  four,  fiat 
or  depressed  seven,  and  sharp  five.  These  are 
more  frequently  employed  than  the  others. 
They  lead  into  the  nearest  keys  —  these  are 
the  keys  having  an  additional  sharp  or  flat  — 
and  into  a  colored  key  called  minor. 

To  the  uninitiated  there  will  be  found  in  the 
book  some  strange  terminations  in  exercises 
and  songs  ;  i.e.  upon  the  sixth  degree  of  the 
Major  Scale.  These  are  called  Minor.  This 
Italian  word  means  smaller  ;  but  it  has  another 
signification,  meaning  sombre,  sad,  or  plain- 
tive, and  it  is  here  introduced  in  that  sense. 

There  is  a  sentiment  of  color  which  is  separa- 
ble from  words  and  which  must  not  fail  to  re- 
ceive its  proper  attention.  In  this  Part,  as,  in- 
deed, in  Part  I.,  it  is  considered  of  great  value. 

Sharp  4  represents  the  same  distance  to  5 
as  3  does  to  4,  or  7  to  8.  Let  it  be  practised 
as  suggested  by  the  heavy  bar. 

The  so-called  \}1  is  most  easily  studied  in 
connection  with  6,  and  $5  with  6.  This  order 
can  easily  be  remembered. 

Let  these  three  foreign  or  chromatic  tones 
be  studied  as  pr<iblems  until  they  can  be  seen 
and  known  in  the  nine  keys.  This  study  in 
sight-reading  and  sight-singing  is  the  means  to 
the  end  —  the  language  of  music  with  its 
varied  tone  color. 

Where  possible,  let  all  the  singers  sing  each 
part,  beginning  with  the  lowest. 

In  the  earlier  musical  compositions  a  form 
of  writing  called  contrapuntal  was  largely  in 
vogue.  Tjbiis  was  melodic  in  form,  and  har- 
mony resulted  in  the  coming  together  of  two 
or  more  parts. 

This  form  or  kind  of  wTiting  is  used,  espe- 
cially in  the  exercises,  and  each  melody  will 
afford  pleasure ;  therefore  the  separate  prac- 
tice of  the  parts  will  be  useful. 

Test  every  combination  and  make  many 
repetitions.  It  is  not  meant  by  this  that  a 
model  for  imitation  is  given  by  the  teacher; 
indeed,  it  will  be  well  for  the  teacher  to  listen 
and  not  to  sing. 


When  an  exercise  or  song  can  be  sung  without 
hesitation  the  class  is  ready  for  the  best  work. 

The  expressive  side  should  be  taken  up,  com- 
prising accent,  quality  of  tone,  movement,  and 
many  other  matters  that  will  be  suggested  when 
good  habits  of  study  have  been  established. 

In  this  part  the  divided  (half)  pulsation  is  to 
be  studied  and  practised.  The  necessity  for 
long-continued  practice  of  the  undivided  pulsa- 
tion of  Part  I.  will  now  be  seen ;  for  if  a  feeling 
for  the  regular  accents  of  the  various  kinds  of 
measure  is  established,  the  division  here  intro- 
duced will  be  easily  learned. 

The  exercises  on  page  66  should  be  carefully 
studied,  each  measure  being  treated  as  a  prob- 
lem in  time. 

Until  that  is  done,  the  series  of  measures 
should  not  be  practised  as  a  continuous  study. 


PART   III. 

The  exercises  and  songs  are  primarily  written 
in  three  parts  for  sopranos  and  alto.  To  these 
are  added  notes  for  bass. 

In  the  common  schools  very  few  tenors  are 
found,  and  it  has  not  been  considered  desirable 
in  so  small  a  work  to  provide  notes  for  that 
part.  Those  who  sing  tenor  can  easily  learn  to 
sing  with  the  alto  or  bass  in  unison. 

In  making  arrangements  of  exercises  and 
songs  so  that  the  bass  voices  can  take  part,  no 
attempt  is  made  at  absolutely  independent 
four-voiced  harmony.  The  bass  is  called  upon 
to  sing  the  notes  of  the  alto  either  in  unison  or 
an  octave  lower.  Where  deviations  are  made, 
it  is  done  to  lead  these  male  singers,  by  pro- 
gressive steps,  to  a  condition  of  self-reliance. 

It  is,  of  course,  understood  that  the  parts 
for  soprano  and  alto  form  complete  harmony 
without  the  addition  of  adult  singers  or  an 
instrument. 

Should  instruction  be  needed  for  the  bass, 
the  teacher  will  present  the  P  clef  in  precisely 
the  same  manner  as  the  G  cleff  was  studied 
in  Part  I. 

For  example,  take  the  Major  Scale  from  C, 
as  follows :  — 


m- 


^r^T 


^ , 

/I      2        3        4        5678 

is      7        6        5        4 

/CD       E       F       GABC 

ic    B       A       G      F 


(13) 


These  intervals  can  be  called  for,  following 
either  series'  four  tables  of  figures,  singing 
above  and  below  the  key. 

The  scale  from  G  will  be  represented  as 
follows :  — 


123456        7         8 
GABCDE       FJ(G 

From  D. 


-J- 

0 

— w- 

— # — 
— # — 

■  \ 

E         FS 


^^1 


1234       5       678 
A     B     Cjf  D      E      FjfGJf  A 

From  E. 


8 


/I  2  3  4  5 

\8  7  6  5  4         3 

/E  FJt  Gj(  A  B 

'e  Djj  Cj(  B  a       G| 
From  F. 


^,_,_- _ 

1234    5     6781234 
F   G   A   B|?C   D   E     F     G    a  B|7 

From  B  b- 


m 


il        2345678 

^8765 

pi?   C      D     El?F      G     A      B> 

^B|7   A     G     F 


From  E  [z. 


/I  2  3 

\8         7  6 

/E  [;     F  G 

'eI?     D  C 

From  AI?. 


4  o 

5  4        3 

Al?  Bl? 

Bt?  At?    G 


-(f}-:rb-f^— 

« 

-#- 

_•_ 

— #- 

=1 

=^F^^p- 

-0- 

-*- 





d 

12      3      4 
Al?  Bt?  C     Dl? 

The  remaining  keys. 
From  B. 


5      6       7       8 
Ei?F      G     Ai? 


-0 — • 


f 


12      3      4 

B   Cjj  Dj}  E 

FroniFjf. 


5      6      7       8 

F#GifA|B 


t, 


iS 


r^ 


_^_ — 0- 


=1 


12      3     4 

F|G|A|B 

From  D{2, 


5      6      7      8 

C#D#E#F# 


&£g 


^=^= 


12       3     4 
Dt?Ei7  F    Gl? 

From  G  |?. 


5      6      7      8 
Alz  Bt?  C     D[? 


l^^. 


-0 — «- 


^ 


12     3      4 
Gl?  At?Bl7  C 


5      6      7    8 
t?Di?  E|?  F    Gt? 


The  notes  for  the  bass  are  progressively 
arranged,  beginning  in  the  simplest  form.  If 
those  who  sing  this  part  will  carefully  follow 
the  directions  here  given,  they  can  certainly 
gain  the  requisite  skill  to  sing  any  ordinary 
music  that  they  are  likely  to  see,  and  with 
continued  study  a  high  degree  of  proficiency 
may  be  attained. 


(14) 


Part  III.  begins  work  with  four  studies  of 
the  scale. 

1.  The  simple  Major  Scale  from  C,  using  the 

C  and  F  clefs. 

2.  The  chromatic  deviations  made  in  ascend- 

ing, showhig  tl,  jf2,  H,  to,  and  tG. 

3.  The    descending    chromatic    deviations, 

comprising  \}7,  j^G,  l75,  l73,  and  \}2. 

4.  The  enharmonic  scale. 

These  tones  are  practically  alike  in  sound, 
but  differ  in  the  notation.  They  comprise  the 
different  chromatic  tones  found  ascending  and 
descending. 


Here  should  be  taken  up  the  table  of  inter- 
vals in  chromatic  tones,  and  if  they  are  sloicly 
and  carefully  followed,  will  be  found  to  present 
no  serious  difficulties. 

It  must  be  remembered  that  the  first  study 
of  every  chromatic  tone  is  more  easily  made, 
as  was  done  in  the  case  of  the  $4,  j??,  and  85. 

Practice  will  govern  all  this.  The  exercises  of 
this  part  introduce  all  the  various  chromatics, 
and  they  will  be  found  to  be  of  much  interest, 
as  they  serve  to  enrich  the  harmonic  color. 

Teachers  are  urged  to  devote  time  to  this 
part  of  the  work  for  their  own  good  as  well  as 
that  of  the  singers. 


Exercises  in  Chromatic  Tones. 


1,     2, 

1. 

2,     3, 

2. 

2,  Jfl, 

2. 

2,  p3, 

2. 

2,  b2, 

2. 

2,  «2, 

2. 

3,  «2, 

3. 

3,  b3, 

3. 

3,    4, 

3. 

4,    3, 

4. 

5,    4, 

5. 

5,    6, 

5, 

5,  t4, 

5. 

5,  W, 

5. 

5,  W, 

5. 

5,  jf5,    5. 

The  Completed  Scale. 
1,     «1,      2,     t2,      3,    4,     jf4,    5,     «5,      6,     «6, 
8,      7,     \^7,      6,     1?6,     5,     \^5,    4,      3,     b3,      2, 


1.  1,  2,  tX,  2,     1. 

2.  5,  tl,  2,  1. 

3.  1,  3,  t2,  3,     1. 

4.  6,  t2,  3,  1. 

5.  1,  5,  J4,  5,     1. 

6.  4,  $4,  5,  1. 

7.  8,  #4,  5,  1. 

8.  3,  t5,  6,  5,     1. 

9.  8,  $5,  6,  8. 


10. 

4,  «6, 

7, 

8. 

11. 

1,  b2, 

1. 

12. 

4,  b2, 

1. 

13. 

7,  b2, 

1, 

8. 

14 

4,  b3, 

2, 

1. 

15. 

7,  b3, 

2, 

1. 

16. 

1,    2, 

3, 

4, 

b5 

General  Drill. 

3,  «1,  2,  1. 

6,  a,  2,  1. 

4,  «2,  3,  1. 

7,  s2,  3,  1. 

2,  «4,  5,  1. 
6,  «4,  5,  1. 

1,  6,  t5,  6,     1. 

4,  «5,  6,  5,     1. 

8,  7,  te,  7,    8. 

3,  «6,  7,  8. 

2,  172,  2,  1. 

5,  \>2,  1. 

1,     2,  t73,  2,  |73 

5,  b3,  2,  1. 

8,  b3,  2,  1. 


6,     5, 

6. 

6,    7, 

6. 

6,  (t5, 

6. 

6,  W, 

6. 

6,  W, 

6. 

6,  »6, 

6. 

7,    8, 

7. 

8,    7, 

8. 

7,    8. 

\>Z,    1. 

4,  *1, 

2, 

7,  Jl, 

2, 

5,  »2, 

3, 

8,  t2, 

3, 

3,  ti, 

5, 

7,  t4, 

5, 

2,  «5, 

6, 

5,    3 

8,    7, 

*5, 

6,    8 

5,  l6, 

8. 

2,  t6, 

8. 

3,  1>2, 

6,  b2, 

1,  W, 

6,  W, 

2, 

1. 

4,     3,    2,     1. 


(15) 


17.  1,  3,  5,  b6,  5,     1. 

18.  4,  {76,  5,  4,  3. 

19.  8,  96,  5,  4,  3,    2, 

20.  1,  3,  5,  6,  177,     6, 

21.  4,  l77,  6. 

22.  8,  t?7,  6,  5,  3. 


1,  i^e, 

5, 

3,     1. 

5,  b6, 

5, 

8. 

1. 

8. 

1,  M, 

6. 

5,  W, 

6, 

5,     1. 

3,  J76,     5,     1. 
7,  l76,     5. 


2,  b7,     6. 
6,  b7,     6, 


Take  as  pitch  of  1  for  Soj^rano  and  Tenors,  C.  C  .  D.  D    or  E. 
For  Altos  and  Basses,  Al?.  A.  BJ2.  B  or  C. 


5,     3. 


The  exercises  in  time  give  further  divisions 
of  the  pulsation  following  a  review  of  what  has 
been  done  in  preceding  lessons. 

On  pages  107,  108,  and  HI  will  be  found 
many  other  divisions. 

Take  the  pendulum  as  before  as  a  guide,  and 
make  studies  of  each  measure  separately.  Do 
not  hurry  this  work,  but  make  as  many  repeti- 
tions as  possible.  Singers  will  be  surprised  to 
learn  how  rapidly  they  can  progress  in  this  way. 

Every  form  of  measure  receives  its  appro- 
priate treatment  in  the  exercises. 

In  studying  these  exercises,  begin  with  the 
lowest  part,  then  the  middle,  and  lastly  the 
upper  voice  or  part. 

When  possible,  let  all  the  singers  study  and 
sing  the  notes  of  each  part. 

Combinations  can  be  made  as  follows  :  — 

1.  Alto  and  second  soprano. 

2.  Alto  and  first  soprano. 

3.  Second  and  first  soprano. 

4.  All  together. 

Even  the  exercises  should  be  treated  as  helps 
to  an  understanding  of  the  language  of  music. 
They  are  intended  to  give  a  great  variety  of 
"tone-color,"  and  they  will  exercise  an  in- 
fluence upon  the  daily  work,  that  will  have  a 
value  in  the  work  of  after  years.  The  exercises 
should  not  be  merely  preparatory  to  song- 
singing,  neither  should  they  be  learned  by 
imitation  for  recreation.  They  are  worthy  a 
much  higher  place  in  school  work. 

The  minor  scales  have  not  been  introduced 
as  special  objects  of  study,  as  the  book  would 
hardly  allow  the  requisite  space.  The  chro- 
matic tones  prepare  all  the  deviations  belonging 
to  the  Minor  Scale,  and  the  various  exercises 
and  songs  afford  illustrations  of  all  the  pecul- 
iarities of  the  Minor  Key.  Every  difficulty  in 
this  direction  as  well  as  in  modulation  may  be 
found  in  the  chromatic  series  of  tones. 

The  songs  of  Part  III.  are  not  introduced  in  a 
progressive  order  of  difl&culty .  The  selection  may 


be  made  by  the  teacher  as  may  be  deemed  advis- 
able or  appropriate  for  the  season  or  occasion. 

In  this  little  work  it  has  not  been  considered 
necessary  to  mark  the  rate  of  rapidity  or  give 
suggestions  in  expression. 

Such  directions  have  been  given  with  reference 
to  the  character  of  the  music  and  words  as  will 
make  the  expressive  side  evident  to  all. 

At  all  times  care  should  be  taken  to  avoid 
harshness  of  tone. 

Use  a  variety  of  vowels,  continuing  each 
until  all  the  tones  are  uniformly  easy  of  pro- 
duction. It  is  ceitaiu  that  all  tones  must  be 
produced  in  a  finished  manner  without  words 
before  the  sentiment  of  the  latter  can  be  given. 

Real  pleasure  will  be  found  in  the  music 
alone,  and  if  it  is  sung  with  the  thought  of  the 
words  and  their  sentiment  in  the  mind,  with- 
out their  enunciation,  much  pleasure  and  profit 
will  result,  and  a  great  step  will  be  made 
toward  the  best  rendering  of  the  music  and 
words  in  combination. 

See  if  some  musical  thought  is  to  be  found 
in  the  subordinate  —  the  lowest  or  middle  parts. 

Very  few  students  will  be  found  in  the 
classes  who  cannot  sing.  Their  progress  may 
be  slow,  but  continued  association  with  those 
who  are  "  doing"  will  gradually  have  an  effect. 
This  will  be  especially  the  case  if  they  are 
given  the  drill  work  in  the  simple  Major  Scale 
and  its  intervals.  Some  of  these  dull  pupils 
have  become  the  most  interested.  The  thought 
of  the  music  is  sometimes  correct,  but  difficulty 
is  found  in  the  control  of  the  vocal  organs. 

Let  the  singers  gain  the  ability  to  discriminate 
in  questions  of  Utne  and  time. 

Be  patient  with  your  singers.  They  will  be 
glad  to  help  you,  if  only  for  selfish  reasons. 

They  must,  however,  be  sure  of  what  they 
are  doing. 

Those  who  would  learn  something  of  the 
French  time-names  and  their  application  are 
referred  to  "Outline  of  Study"  of  the  Normal 
Music  Course,  published  by  Silver,  Burdett  ^  Co, 


(16) 


THE 


Cecilian  Series  of  Study  and  Song. 


COMMON  SCHOOL   COURSE. 


PART  I 


Exercises  and  Songs  for  one  Voice, 


The  Major  Scale  from  C. 


i^ 


^^ 


Real  names 
Pitch  names 

12       I        I 


^8  7 
/C  D 
*C        B 


3         4         5         6 
6  5 

CDEFGABC 
A        G 


7        8  12         3 
D        E 


Exercises  in  Time. 


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ZZ=ZZf. 


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Now  we'll     all  go       a  -  sing  -  ing,     a'" 


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w 


Exercises  in  Time. 


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51 


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Cocked  his  shin-ing    eye    and   said,     "Aint you 'shamed,you sleep -y    head!" 


21 


Exercises  in  Time. 


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rough,  And     his      eyes    were     an       em    -    e   -    raid    green. 


22 


Exercises  in  Time. 


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60 


i^ 


C ^ 


-g* — 'g^— bizg: 


:z?3  -^ [^—  -'^ si- 


61 


:»— 


:^ 


25 


3: 


:^- 


:t 


^ 


Through  tlie       si    -  lent  hours    of    night,     Safe  iin  -  til    the    morn-ing       light. 


1=3: 


d=:1= 


-&- 


■7SL 


-i9- 


t=1: 


:2^=:b 


God    has     kept    us      safe    from  harm,  Shel-tered      by    His     lov  -  ing      arm. 


62 


-4— # — # — #- 


::1z=rq 


^: 


E^^ 


^ 


ii^i^l^l^^ 


la    la 


63 


d=i 


FW--^-*— F— h- F— ^— *=F»— *-*-F' 


#-#^ 


:*=«: 


64 


.J — ^^^ 


-^- 


I 


65 


-^-^_, 


:p=^ 


TZZZtZUtt^ 


66 


:5:o==i|: 


rt 


tEEEE 


>— ^ 


t= 


piii=^ 


67 


=t*.t4 


1  w_^: — #  L 


:=^i 


3^:5 


i 


The     finch -es      are       sing  -  ing,     The    brown  bees     are       hum -niing,  The 


# 


%^-=A-- 


1= 


s 


J: 


grass -es      are  .<<pring-ing.  The    sum  -  mer    is      com  -  ing,  For       A  -  pril     is 


=F- 


m 


^^3i^i^^»^^ii-fe^ 


here  —  For     A  -  pril     is     here —  For       A 


pril     is        here. 


26 


69 


F^-H-=F- 


m—^ 


-0—9—0^ 


, — 7- 


:E^S 


Pg^l 


70 


a=^ 


fczp: 


=i=^ 


ri=^- 


*  g 


71 


rl3i- 


^z&i 


-N— N 


^^1^ 


:!tz7-^- 


$ 


-Mi-id^!zz::^i=±r 


-fr— • w *- 


JS-r 


^— # 


IPl 


* 


Down   in      the    fair    -  y        dell 


The     li       -    ly         bells       are 


■0- ^^#— F-*— y— #— h-^ ^—\--0~—f-0        ^        # 


ring 


A  -    round  its     moss  -  v        well 


The 


t=^=tt^t 


^^^^^ 


— I — , — ^_ 


^m 


0- 


lit    -  tie     elves  are    sing    -  ing  —  The    lit    -  tie       elves  are     sing    -  ing. 
72 


^ 


73 

mi 


74 


0 f 


-* — * — * — - 


-• 0 •- 


^=1) 


^^^^^^. 


EF±E3^-^± 


-«»- 


f; 


75 


^ — r 


:t=^ 


J=4= 


-* It 


76 


27 


2^ 


77 


^^ 


4— ig- 


^I 


:i3:-^ 


:^=^: 


i: 


The    best    of    wine    for    chil  -  dren,    it       is     the    pure  white  wine,        That 


iEE* 


gush  -  es    from     the      moun    -    tain,  where  -  on     tiie    sun-beams  shine. 


m 


I 


i^i=f 


The  Major  Scale  from  D. 


^^E^ 


n     2 

^8       7 


3  4    5     6      7  8 

6  5 

/D     E  F sharp  G    A    B    C sharp!) 


C  sharp  B 


,1      2 

^8      7 


3  4    5     6    7  8 

6  5 

/D     E  Fs/mrpG  A    B  C sharp D 


C  s/iarp  B 


78 


:^li^ 


]=t^: 


^z=^z=VzEi=i^=iEEizir:f 


-*— h-y 


70 


3t 


3=e; 


0 ^ 


#— ^-s^ 


j=z=q 


-5»- 


^^ 


80 


1"1: 


:^^=^^=i: 


^^ 


28 


81 


"^EEEE 


-\ #- 


-* — ■■ — 


d: 


m^^\ 


82 


:=^ 


-# •- 


83 


=T=3 


i^-Pl^^l^g^l 


P#l 


-J-^- 


?=3 


i^ — * 


—^ — ^ 


-g — ^- 


T=^ 


_i 1    I 


:ti:?.zz=t-f: 


Don't  you  hear  the       blue        bird  High   up      in      the       air?  "Good 


m^^^ 


n=t 


T=t 


1=^: 


morn     -    ing,         lit-  tie     ones.  Are    you    bus  -y         there?" 


84 


-tT;+4>- 


'SI 


-g 0- 


la 


t=d: 


:T=^ 


la 


la 


la 


85 


1:=:F: 


• — •-  —ff m — I — -J 1 J 


la 


la 


86 


;SlE3=a^=3 


^=i 


mm 


-1^ 


i 


lii 


87 


tzz± 


LSi- 


4=0=^ 


29 


q=^: 


:iij=- 


— # 


3^3 


g-^li 


1.  The  friendly     cow,  all    red  and  white,  I    love  with  all    my      heart ;         She 

2.  She   wanders  low  -  ing  here  and  there,  And  yet  she    can-not       stray  ;         All 

3.  And  blown  by    all  the  winds  that  pass.  And  wet  with  all  the      showers.     She 


s^l 


—ZZ 


'm^m 


gives  me  milk  with  all  her  might,  To  eat  with  ap  -  pie  tart, 
in  the  pleas-ant  o  -  pen  air.  The  pleas  -  ant  light  of  day. 
walks  a  -  mong  the   mead  -ow  grass,  And  eats   the  mead  -  ow       flowers. 


88 


^It^ 


:^E3 


nsi 


m 


HZ'-. 


t 


89 


^ — ^ 


::1=:: 


:^^ 


?5*- 


m\ 


8*3=3; 


■^^=w 


'8=. 


Rob  -  in,     Rob  -  in        Red  -  breast.   O      Rob     -     in 


dear  ! 


# , 


Rob  -  in     sings    so     sweet-ly       In      the     fall  -  ing     of      the      year. 


90 


te 


-g^- 


i^ 


j^b-^'— J-b£zjEE;^zii=3 


30 


91 


n 


WE^^S^ 


^-JE^£ 


/9- 


5EEE 


--q: 


-(©'- 


S 


ig¥^ 


-Z5^- 


-5*- 


:ir^ 


-j^-=S— 


\^^^ 


On  goes  the       riv      -       er,  And      out        past    the       mill,  A  - 


'P 


^^=^- 


:4=:==d: 


^^Pi^3 


o->~a 


way        down  the      val      -    ley,      A    -    way       down  the       hill. 


92 


'st-- 


4=E=^: 


-s-s- 


-s— «^ 


d: 


iHi^ 


lE^E^^EgEgEEgj3E^3EEgEgI^g^igEg^gE3id^^ 


93 


i^^^ 


:^ 


11=3=2: 


-4=^ 


:^z=l:: 


^=3; 


^=± 


3^?=^ 


94 


«t^ps^ 


^^*- 


:*=M: 


i=:t 


tE^ 


f=^=^ 


-*-^- 


95 


* 


fci 


infci: 


jjg^i^pii 


la  la  la 


96 


%-^ 


^^^^ 


=1: 


, , m 1 -^ 


t=? 


Btn.*; 


t*; 


act 


31 


::J:t* 


SSfpI^il^ 


-t- 


^ 


1.  If      I     were     a      bird     I      would   war  -  ble     a    song,  The  sweet -est    and 

2.  If      1     were     a     flow  -  er       I'd      has  -  ten    to  bloom,  And  make  my  -  self 


Si 


-^ 


fair  -  est     that    ev  -  er    was       heard,       And     build  me       a     nest    on     the 
beau  -  ti  -  ful      all     the    day      through,  With    drinking      the    sun-shine,  the 


-ff^— -I -i 1 # — rj — 0—\~-0 


swing  -  ing     elm  tree —    And  build  me       a      nest    on       the  swing  -  ing      elm 
wind    and    the    rain —  With  drink-ing     the    sun-shine,  the    wind     and      the 


s: 


d=:rd: 


tree ;       Oh,  that's  what      I'd        do 

rain:     Oh,      if        I       were       a  flow 


if         I       were      a        bird, 
er,      that's  what    I'd        do. 


97 


mmi^s^m^ 


98 


^ — *- 


^^^^0 


99 


# 


it 


N ^- 


JLni:^ 


sm 


-#— ^-# 


100 


la 


la 


3-i 


:| 


i:S 


-A s- 


^i=i^^i 


1^ 


1.  Dear  lit  -  tie       bird     -     ie,     Up      in        a       tree,      Sing  a     sweet    song     Of 

2.  Then      when  win-ter   comes  Back  with    its    snow,    And  the    cold    winds  Thri 


:fe 


sun 


Spring-time     to       me.  Sing      of      the        sun      -      shine,  Sing  of      the 

all       the      trees   blow.  If        you,    dear      bird-ie,      will      Back   to     me 


ls=1==^ 


'^^ 


showers,  Sing     of        the       dew      -      drops,  Sing     of  the       flowers, 

come,     I'll        see      that    you     nev  -  er      Shall   want    for  a        crumb. 


101 


3 


H=3 


^ — * 


-^ — ^ 


^ — «_ 


t=Ez:tz:^EE: 


102 


ww^=m 


1=5 


> — *- 


:^s: 


103 


'-4r- 


-S=^=*^=^=' 


(«?-r 


.0-.^^ 


^^ 


104 


te^p^ 


105 


'9 — y 


la 


^ 


E^ 


f^'S 


-^ — ,- 


33 


m 


^^^ 


— ^- 


^*=^ 


:-7s^ 


I       know  the     or  -  gan      is        a       liv    -    ing     thing,  He     speaks 


SI 


i-=d=^ 


'r-r-rl—^ 


F=P 


e; 


ri=J 


^1 


-F=t 


Sun     -      days      when     they      sing,  And     when  the      chor 


IS 


:^: 


iEEEi 


*=:=22 


3 


ters       in    -    tone ; 


But       all     the    week      he        stays      a    -    lone. 


The   Major   Scale   from    F. 


m 


12      3      4 

8      7      6       5 


gEg^:=[S5^^^Eg^ 


5      6      7      8 


12      3      4 

8      7      6      5 


5        6       7       8 


/F     G     A      BJlat      C      D     E.     F.  .F     G      A     Y^Jlat      CD      ¥..      F. 

\F     E     D      C.  \] 


iF    E      DC. 


106 


^^t=^=i 


^t=i==J=:-_.=J==-_M=-z=:=r 


1=i 


-« — •— 


t=r 


^^^^ 


-0 \~^~ 


la 


107 


$f 


Ie^3E^3^ 


:1=:i 


g 


::±=t 


•^3 


IS 


la 


108 


a-E5=5 


4r 


:q=1=l 


^i=z*=£i;=?: 


±-t 


34 


* 


¥==t 


=tES 


l=F=t 


,__>.„_ 


Drop,  drop,   drop,  falls  the    rain,  The    still 


rain; 


^ 


jr-— • — -* 


l=T=t 


fci:  -^       w    E3=fc::  -* — ^^  -^ — ^i^ 


^ 


Drop,  drop,  drop,  drop,  drop,  drop,  once 


a    -      gam. 


109 


i 


lt=t 


# #-L:i| 4-L-;: 


1=5 


:^=itz4 


±=f-zzMz 


110 


i 


1*3 


4^-ii^ 


S 


-S d •- 


:d=pz4 


P^ 


111 


m 


-2—1 •- 


:f-±-#- 


±=it 


3^1^. 


is^=j 


^ 


112 


4=^ 


5 


t=^ 


113 


^ 


a=  3=Jtz  =i±=*=  =i=i 


114 


f^^^^^^^^^L'  J I X  g^ 


^ 


35 


jt—-0- 


-1— i 

T|— — #- 


stars  are     shin  -  ing     ev  -  ery-where  Through  the      frost  -  y  Christ-mas    air : 


'^^^m^^^^^^^^ 


Jack   Frost  sketch-es      on     the    pane     Hints     of     fern  and  wav  -  ing    grain. 


115 


^=d: 


^|z=4=^ 


2-s< ^ 


i9- 


~^- 


116 


3^3: 


It 


# 


?!=;^ 


li^l^ 


S=sS: 


T=^ 


5 


All  things  bright  and    beau-ti-ful,     All     crea  -  tures  great  and     small; 


i^iriz;^ 


-■^ gl- 


-^___^ 


3^3 


3 


22: 


-«^- 


-<$^ 


All  things  wise    and  won-der-ful,   The    Lord   God   made  them  all. 
117 


:3={?-:i^ 


i 


s 


-(^^ 


£33 


3^ 


118 


:^- 


i9 — 


"-2-g- 


E=t 


i^^ 


I^ 


3=3 


PP 


36 


.^-d- 


■id—*- 


l^^i^^s 


With  wel-come   and  with  cheerful  song,  We   hail  the  new-born  year,       Through 


* 


f- — I #- 

9—w r 


3= 


t=X- 


-^-=-t 


joy    and  grief     ex   -  pect  -  ed       long,  At  length  we       see      it        here 


119 


^^- 


120 


Ite^E^^^I^ 


-^-^- 


:T=q: 


^— y 


afi 


:&1 


ia^ 


E==^! 


1.  Come    out       of      your    beds  there,   The        cock     loud  -  ly       crows,     The 

2.  And      see,      the      red     morn  -  ing         So         gai   -    ly         is        here,         On 


a 


5 


:^ 


i^J 


birds       they        are  sing    -    ing,       The        morn   -  ing       wind      blows. 

mead    -    ow  and         brook  -    let,        The  sun   -  beams  shine      clear. 


121 


:^ 


g^^ss^^^^^ 


■i=--^ 


■4--*- 


:£z:ti 


122 


%^^^^^^^^^^^^^^ 


37 


s* 


• — ^ 


mn 


\=t 


■F 


— (S'- 


Kind  words  can  nev  -  er  die,  Cherished  and  blessed,  God  knows  how  deep  they  lie, 


-« — 0. 


:^:d 


^^3EE 


-» ^- 


1^=^- 


t=^- 


-g 0- 


3^ 


Stored  in     the  breast —  God  knows  how  deep  they  lie.  Stored  in      the  breast. 
123 


ifepj^i^h*- 


.^—0- 


q^: 


-*— ^ 


■0 F 1- 

:^2 


trt 


^J-«-l-J 9 


124 


g^^ 


0—0—0^ 


+—0 1- 


^1 


ii^ 


N — ^- 


^— ^ 


.^_  ^ 


Said   a      pan  -  sy    one     day,      I  '11      get     out     of    bed ;  Though  the  frost's 


i 


^=^ 


V-?: 


!Sf==N: 


0-4—0- 


in  the  ground,  It's  warm     o    -  ver  -  head  —      It's  warm       o  -  ver      head. 
125 


^ 


126 


'^^ 


dzrzjzzn: 


:p.:>;=1: 


# — 0- 


127 


38 


p- 

-r 

— :+rn 

r-^ 

-*- 

-1 — 

— ^- 

— Ik 

-K- 

r- 

jA — -^- 

1 

p- 

_K          -^-D 

-4^^--^- 

-»•— 

* 

k=^=^ 

^ 

y '- ' 

-P- 0- 

, #— 

— 1 

tj  '-*^i 

The  rain 

is      rain  -ing   all 
1          >. 

a  -  round,  It    falls    on  field  and    tree,              It 

y  1 

r 

N             1 

J 

1          ^ 

/L  b     •         * 

"i          ^ 

J       J 

«<      J 

.■  ^■  r 

({[\  '     1           i 

r 

m       *l 

•             • 

-  ^         ^ 

£_:*  • 

^     7 

LW— ^ !^J 

' 

* 

rains    on      the     urn  -  brel  -  las    here,    And     on       the  ships      at       sea. 
128 


l^^^^^^s^^^i^i^i^ 


129 


^fr-^N=^:^^-^i^^^l^J 


^ 


-■4 •- 


130 


I 


E^EJ 


±zi: 


:^ 


'^1^ 


fii 


3^5 


g 


=f=t 


■j^ 


1.  O      love  -  ly  bright  star, 

2.  And  dis  -  tant  or    near, 

^4- 


You  shine  from   a    -  far, 
Or     yon  -  der    or    here, 


Yet    dear  -  ly      I 
I       see  that  bright 


EE 


1==1: 


i9m- 


T 


-#-f- 


1P=^ 


fzi^fcL^rM 


ifat 


love  you,     Though  dis  -  tant  you  are  !      I  love  your  bright  eye.      As  beam -ing  on 
eye  Shining  kind-  ly   and  clear,  And  beck  -  on  -  ing  too    From  Heav-en  so 


I 


E3^£ 


:^ 


high,        So      kind    -  ly        it    looks    on       me      Down     from  the     sky. 
blue ;       O       star       of      the    eve  -  ning.    Oh,      were      I       as      you. 


Exercises  in  Time. 


|jJ_J_JLJ_^j_^^_^_^_^^^J_^^ 


39 


_- ^^^_- ^ 


|_^j_i,_j-^^^_^  x|  j^    J.    |KJ    J  ^-1 


131 


* 


^-J =!■ 


» •^ 


:s: 


^ — •—^-^ 


t:i=i=^ 


132 


^ 


1=::^; 


133 


^;^p: 


11=:^ 


■^—r 


I^ 


i 


U-J— H-J-J=F-J ^— T4=±=iFl~     I     A F=Fi=l 

J ai J « # :-H a -1 * # 3-d ^ -^^ -J 1 4 


IS=^z=izzz  jz=:*=  :^=z=iz= J^EE^  :ji=# 


J^fZIE 


Ev  -  ery  flower  and  ev  -  ery    tree,  And  ev  -  ery    liv  -  ing    thing  we  see, 


B=T=J= 


T— !- 


t=t 


=i£^ 


iiizii 


1=±=t 


•^ — ^ 


:^=zt 


K^^ ^ #- 


Ev  -  ery  face  which  we  ,  es  -  py,  Ev  -  ery  cheek  and  ev   -  ery  eye ;         In 


i 


ii^=n 


:fc:1=3i:3 


:+=* 


E^ 


^ •- 


t=t 


-• 1^ 


^-^i9 #- 


all  their  tints,  in    ev  -  ery  shade,    Are  from  the    rain-bow's  col  -  ors  made. 


40 


Exercises  in  Time. 


||_,^j'Lj^/L/L,Lj_^_^_^_^_^_^_j_J_^^    — |-^ ^_^- 


|_J__^J__jM  JL__^J. 


-J-. 


-,U- 


1 1 


134 


#=^^^=IN 


3:__* — ^ — ^__^ 


N h 


-9 #- 


i=i 


0—-0-~-^-—g 


=;Ef=t==:*=:ri3 


135 


i 


^t-=^ 


ft-r 


i^ 


» — •- 


V— L# — , — 0 — ? n 


136 


i 


lS=T-=^ 


-8^-# 


-^^ \—9f — :- 


-r— ?— f — -n—^- 


qziq: 


#— , 


i^^ 


137 


^^ 


i^g^^« 


»— ^— ^-^ 


^-^ 


-• — :i^ = 1/ ^ 

Sup    -   pose         the         earth       was        bar  -  ren      and     bare,  Where 


I 


m 


-0 0t. 


:^^ 


-n — 0- 


pleas   -  ant      trees     now     stand; On    my        word       it    would  not    be 


I 


i 


^ # ^ # 

•Nor      half  such      a        hap    -    py 


half        so     fair, 


land, 


41 


The  Major  Scale  from  B  flat. 


==^^- 


-^^^^t 


«— ^ 


1 


1  2     3      4 


23      4  5678  1  234  5     678 

V^flat     C     D      Y.ftat    F     G     A     Yi flat      Y^ flat    C     D     Y.flat    F    G     A     Bflat 


Z-^-VlL 


5 
4 


i 


t 


iBflat     C        D        Eflat    F 

\Bflat     A        G       F  Eflat     D 


c 


2  3  4  5 

7  6  5  4  3 

Bflat   C  D  E/a<  F 

Bflat   A  G  F  Eflat    D 


138 


5^B 


C=d: 


=&%^=*=l=^r=h=[==P^f=t-=ZM: 


EEE^Ei 


-# — ^ 


# — ^- 


139 


EF9=* 


EMz;4^prz:::t=£EE=«=E::» 


■«- 


I* 


|: 


-# ^ 


T=t 


-■(&- 


()  bright  blue  sky,  you    are    so    high,     I      can-not  talk     to       you. 


140 


m 


.^ — 0- 


-^- 


m 


'M-=t 


-*-.=i: 


141 


?4^ 


a^i 


i*=^ 


43 


:bi-H — r 


i=F=* 


1=*: 


See    how    fast  the  snow    is     fall  -  ing  Through  the  win-try      night;... 


^ 


\r=i=t 


3EE^B 


-#==5: 


-0——^ 


-• — ^ 


Fall  -  ing  noise  -  less   and    un  -  ceas  -  ing,  Soft    and  pure    and      light. 
142 


ii 


~^- 


$zf=zit  =J=:fc  iztizfc  izfzzizfc  lit 


X- 


-t — * 


143 


* 


?=5 


144 


g^^^^^ 


-1 — -4-M — X 


-« , 


145 


:d=q 


q ^ 9. 


^±iEE=^ 


-<<  ■  • 


J    ^  1-^ 


i 


f-t=3 


4^-*^ 


^^^^g=^ 


Lit  -  tie     mo-ments make  an   hour;         Lit  -  tie  thoughts  a     book; .  . . 


-■j^-M-^ — f—, — J — ^  -^ -r—f — I — 1 — ^- — ^?- 

-fM^ — +— '-  -^—x''  f —  =^— r-  — ^=  --^'   ^'   * 

Lit  -  tie     seeds     a     tree     or   flower,        Wa-ter  drops     a       brook;... 


i 


d=i 


]^5 


r^— t 


T=* 


13 


Lit  -  tie  deeds  of    faith  and    love         Make    a    home  for    you       a  -  bove. 


146 


^- 


E^m 


^- 


=1^ 


43 


1] 


147 


I^ 


j=E: 


<&- 


-(!&- 


<&- 


J=4 


-(&- 


2^ 


-(&- 


^- 


1.  God     of     heav-en!  hear  our  sing-iug;  On  -  ly       lit  -  tie    ones    are      we; 

2.  Let  Thy  king-dom  come,  we  pray  Thee;  Let  the  world  in    Thee  find     rest; 


P 


^=i 


^ 


.^?IZZ3tZ 


Gh 


Yet       a   great   pe    -  ti  ■  tion  bring-ing,  Fa  -  ther  now    we    come    to    Thee. 
Let      all  know  Thee,  and     o  -  bey  Thee,  Lov  -  ing,  prais-ing,  bless  -  iug,  blest. 


148 


2^ 


is: 


^ 


149 


I 


c;^^— ^-1—1=4 


«=3 


2:z^ 


:^ 


-«^- 


-i^- 


LI    I      I  l"^ 


't=4 


-si— ^- 


^E^ 


J:i^ 


*==F 


-($*- 


Lis -ten,  how    the  bells    are    peal-ing.  Not   the  bells  from  old  church  towers; 


i 


-^- 


-5' ^^ ^^ ^ , _, 1 

Look,  you'll  see  the     fair  -  ies  steal-ing     In    and    out      a-mong  the  flow  -  ers. 


44 


150 


^^^^^^^m 


#— #: 


~t- 


151 


-^ 


^te^ 


i^- 


How  calm  -  ly,       glid  -    ing  through  the  dark    blue      sky, 


m 


The 


i^z: 


mid  -  night  moon — the      mid  -  night      moon        .as   -    cends. 
152 


^^ 


t^l 


w—* 


^: 


-^-*- 


:t:t# 


153 


^-A- 


#=i 


la 


-x-r- 


EE^ 


i 


p# 


-, — ^ 


£^ 


:^ 


EE 


i 


1.  Oh,      tell      me,  dreams    from      whence     ye      come,      And 

2.  To    those    who       ere       they      slum    -    ber      pray,        We 


whence 
soon 


may 
est 


-^1 


■:^- 


be 
go 


¥ 


your     far     -    off   home  ?  From  Heaven  we      come    each       night 
and     long   -  est    stay.      And      all        who     love     their       God 

_ 1_ 


t=q: 


7^ 

you. 
night. 


new,      'Tis 
right.     Will 


God 
have 


who 

the 


sends        us 
sweet   -    est 


down 
dreams 


to 
at 


154 


m 


sS 


-0—9- 


45 


^ 


155 


"R-J- 


l^^^Egg 


^-0-^ 


fBE 


#=-H^7— -K- 


-^— '-# 


I^-— - 


Kind  words    are      the       gar  -  dens,  Kind  thoughts  are     the     roots  Kind 


i' 


__^_ 


words     are 


156 


the 


-R-^- 


-I — #— * « — # 


bloss  -  soms,    Kind      deeds      are        the      fruits. 

1-^ 


•*-7-:^- 


#— , 


-#-?- 


157 


f$l^^^ 


^_j_  — p_| — 


:U.ii^ 


i^ 


158 


:^% 


i^ 


-*-7' 


1.  Of    speckled  eggs  the  bird  -  ie  sings,  And  rests    among  the    trees; The 

2.  The  children  sing    in    far  Jap -an,    The  chil-dren  sing    in     Spain;...      The 


m 


-N-4^ 


m\ 


sail  -  or  sings      of  ropes    and  tilings,     In  ships     up  -  on     the    seas, 
or  -  gan  with    the    or  -  gan  man  Is    sing  -  ing    in     the    rain. 


46 


159 


160 


P 


1 — rtr 


'W- 


-<^-T- 


-«*- 


^- 


|l 


1.  Up  -  on     the     wall,  who's  sit    -  ting? 

2.  Take  care,  you    lit  -  tie    spar    -  row  '. 

3.  Where  now  is       lit  -  tie    spar    -  row  ? 

4.  The  puss  -  y  -   cat    has  caught  him, 


^ 


&- 


Fa  -    ri  -  rum !  She's 

Fa  -    ri  -  rum !  One 

Fa  -    ri  -  rum !  He'll 

Fa  -    ri  -  rum !  And 


i 


t=X 


watch-iiig  spar  -  rows  flit  -    ting,  Fa  -  ri 

comes  who'll  bring  you  sor  -    row.  Fa  -  ri 

sing     no    more    to  -  mor  -  row.   Fa  -  ri 

to        her    kit  -tens  brought  him,  Fa  -  ri 


fa  -  ra! 

fa  -  la ! 

fa  -  ra ! 

fa  -  ra ! 


O     spar  -  rows  fat.  Take 
O     spar  -  row  dear,  Take 
O     spar  -  row  fat.    You 
So,  spar  -  rows  dear.  Take 


\^. 


X=:.-^. 


3 


4 9 

care,  take  care,  'tis      puss  -  y  -    cat.    Fa  -  ri  -  fa  -  ra,  fa  -  rum. 

care,  take  care,  the      cat      is      near.  Fa  -  ri  -  fa  -  ra,  fa  -  rum. 

did      not    see    the      puss  -  y  -    cat,    Fa  -  ri  -  fa  -  ra,  fa  -  rum. 

care,  when  Mis  -  tress    Cat    is      near.  Fa  -  ri  -  fa  -  ra,  fa  -  rum. 


161 


s 


^— #- 


z^ 


I 


1 — t 


*=^ 


-^=^. 


Sum  -  mer    fad  -  ing,  win  -  ter  comes,  Frost  -y     morn-ings,  tin-  gling  thumbs, 


I 


E 


-«*- 


Win  -  dow  rob  -  ins,    win  -  ter    rooks,    And  the     pic  -  ture  sto  -  ry    books. 


47 


162 


.»_#. 


--^=i^='t^ 


J-0-J—0 f: 


163 


iie^^r^pi^^ 


#---# «r 


164 


Sfei^^^g^^4 


:a=il: 


-? — 


165 


i 


^-*=3= 


^^ 


-, c 


t# 


166 


-& 


F=^zrfc'=5=t^zz3 


^— #- 


:73E£3EE 


fz-r 


# i? 


167 


8 


#— ^ 


=?=#- 


-^-— y- 


* — ^ 


->« K- 


■f-±zd 


-K — K — ^- 


:^ — r 


■9 ^ 


The  lark  is     so  brim-ful    of  glad-ness  and  love,  The  green  fields  be-low  him,  the 


-^ 


■-^ — ^—f- 


aziztizV: 


-^      S    h-b^ — 'i^- 


m 


blue  sky    a-bove,  That  he  sings,  and  he  sings,  and  for  -  ev  -  er    sings    he,    "  I 


id?. 


bW^^ \^ 9—9 1 


T- 


-y ■>- 


li^zii: 


love  my  Love,  and  my  Love  loves  me."  "I    love  my  Love,  and  my   Love  loves  me. 


48 


1^ 


The   Major   Scale  from   A. 


# 


^ 


^^^^— ^ 


^ — ^ 

123  456  7  8  12     3.456  7  8 

A     B    C  sharp  D    E   Y  sharp  G  sharp  A  A    B   CsAarjo  D   E   F  sharp  G  sharp  A. 


i^^^mm^ 


-0 — ^ 


/I      2  3  4  5 

'8      7  6  5  4      3 

/A      B  C  sharp  D  E 

*  A      G  sharp  F  sAarp  E  D     C  sAarp 

168 


-— » ;^ 

3  4  5 

6  5  4  3 

/A      B  C  sharp  D  E 

\B      G 


,1       2 

\8      7 


H3=i 


G  s/mrp  F  sAarp    ED  C  sharp 


PI 


169 


-?* — # 


^ 


:t=F: 


HH 


1=: 


^ 


170 


rt 


ii 


T=^=^=^^^ 


l±=^ 


-4       X     -^ ^ 


X — f — X- 


171 


Fg^¥2"~r~=FF=FF=^ 


3=^ 


t=t=t 


3==^.: 


172 


fc» 


^fe 


±=i 


t=±- 


t^ 


173 


49 


174 


4==t 


^1 


175 


1==^ 


i:^ 


F#¥*--fi     ^  F=3     ^=f=h     n  FP=^^=3 — ^-^^    f  1 

-^— ^^i— •-—  -^— ^-^-^J-^4— ^--* .-  ^-  =*=p-: 

1.  How  ma  -  ny     deeds  of      kiiid-ness     A      lit  -  tie    child  may      do,  Al  - 

2.  It  needs  a       lov  -  ing    spir      it,  Much  more  than  strength  to      prove      How 


S 


-A= 


^I 


though  it      has      so      lit  -  ile  strength,  And    lit-  tie    wis  -  dom      too! 
ma    -    ny  things   a    child  can     do         For      oth  -  ers      by      its       love. 


come       in  the       May. 


50 


177 


t=t: 


:^-^ 


=:4i=i:± 


pie 


j^—-0- 


^^m 


178 


i^ 


-#• — --j- 


^^^^^m 


179 


:i«S 


P 


:^^S3^^ 


•Efe^^SgEi 


^ 


f-^-*--f-? 


t=^t 


180 


-3_^4— i 


1=:t=R 


^ — •^—  -d-— i— i^-  -^—•~  H=^_ 


4=::f 


£^E= 


3*ET^&^EEfE3 


:^iiM: 


181 


M 


Si^i^. 


tr=X 


J=(::t 


tq: 


^3^^^ 


#— ^ 


la 


la 


182 


ft 


1=t 


te3S 


It* 


:t=i 


1^^ 


^— ^ 


i^— ^ 


±:14 


i 


¥4^ 


t=t=t:: 


There  was     an      old    wo  -  man    sold  pud-dings  and    pies,    She    went    to    the 


tfil 


i 


i^?=?==^Fi 


lEi 


i=n^ 


3t:z^ 


i 


mill,  And  dust  flew    in      her    eyes ;  While  through  the  streets,  To      all       she 


it^^ 


tt: 


-(^-— 


^Eig 


t=rt 


:^ 


#- 


^11 


meets  She  ev    -    er       cries,         Hot    Pies!         Hot    Pies!         Hot    Pies! 


51 


183 


^ f^- 


_q!^__« 0- 


-jtzt-X 


184 


—S-0 -J:-,„,_». 


*— •- 


;'EEE;E^HEgEJigE^^j 


i 


^ # 


:l=t:: 


^-7-f- 


^E^ii^gii^ 


1^-: 


The      storm  -  y       March    is      come       at    last,  With  wiud    and  cloud  and 


p 


3! 


i 


chang-ing  skies;    I    hear     the      rush  -  ing      of       the       blast, 


-7-f- 


That 


m 


-Jt 


Pg^ifi^i^g^^^ 


through  the    snow-y    val  -  ley  flies — That  thro' the  snow-y      val  -  ley      flies. 


185 


ipg^g 


^— # 


E^^ 


i^— # 


186 


wi v~] — ! — i~^"^~^ — ^" 


:t=E=t:=:t 


*-n- 


-J—JS- 


5^ 


la 


2 


i 


wS-, 


il 


-^-r-J^ 


^^ 


Oh,  the    sun-  ny  sum-mer  -  time!      Oh,  the    leaf  -  y    sura-mer-  time 


fe 


■J N- 


£ 


^^ 


F- 


^^1 


Mer  -  ry     is       the    bird's      life,  When   the      year    is     in      its       prime. 


52 


187 


^M 


s 


$ 


188 


iJ; 


*^ 


itatriUatit 


i=t 


^—^ 


^ 


i^ 


*:*=*: 


^ 


t=^ 


t=t=t: 


^3EEE^ 


Vzzz^ 


i 


« 


1=5 


# — ^- 


^ 


Our    ros  -    es  bloom  and  fade  a-way,  Our    In-fant  Lord  a  -  bides  al  -  way ;  May 


t=trc-* 


^EfeEbEEt^EETz? 


0—-g- 


we      be  blest    His    face  *  to      see,  And    ev  -  er      lit  -  tie    chil-dren      be. 


189 


^-•—^ 


-#— #- 


:i=* 


•—^ 


.^-4 


^Z± 


190 


i 


:fc^ 


fK^.-^    \  ]\]ry=f-^rr--nr^ 


t^ 


-4 — •- 


-'g 7^ 


i 


u 


3^ 


i^^ 


r44 


^ 7i- 


A     wick-ed   ac-tion     fear  to    do,  When  you    are     by    your-self. 


for 


^ 


U.=± 


^: 


ISC 


ifclt 


i=1^ 


though  You  think  you  can  con-ceal        it ;         A      lit  -  tie  bird  that's  in  the  air,  The 


^i 


^P1 


hid -den  tres-pass  shall  de-clare,  And     o  -  pen   -    ly        re    -veal  it. 


53 


191 


4i: 


i:-|-:^EEg^^^^Eg^^Fj;^H-j-*^=p— l>-J^ 


192 


tf 


r-£feiEE 


t=F 


:^ 


^^=^^-^^-^ 


-g^-^ 


U 


Izfc 


^-=1=^ 


I       1^^ 


-^^=#= 


i^- 


The  flowers  are     blooming  ev  -  ery-where,  O'er  ev  -  ery     hill  and    dell.        And 


^^iiee^^ 


^=^=i: 


:)=* 


^ 


=f===t 


^ # 


oh,    how  beau  -  ti  -  ful    they   are  1  How  fra-grani,  too,     they    smell. 
193 


^^^^^^^^^ 


■^-^- 


t^ 


•—^ 


194 


SEi 


::1=F=I- 


:d^q3: 


-& 


f--?- 


tii: 


■#-x- 


^____. 


195 


A=t: 


:tEh 


«_,. 


^3: 


2=t 


I 


^p^^^^ii^i^i^^^g 


The  spring-tide  hour  Brings  leaf  and  flower,  With  songs  of  life    and  love  :         And 


i 


1^^ — I— 


i=S: 


^ 


E 


fct 


-^ — *— ^ 


many  a      lay     Wears  out    the     day      In      ma  -  ny    a  leaf  -  y      grove. 


54 


¥^r^ 


Vw—^ 


The  Major  Scale  from  E  Flat. 

— _-^-b:i=z:Fpb.= 


i 


6     7      8 


2      3    4         5 
8  7      6    5 

E/a/  F   G     A^atBJlatC    D     EJlat 


^m 


i^ 


2     3    4         5         6    7     8 
6     5 
iEfatF   G    A  fat  B  fat  C   D    E/^at 


\8  7 


lE_/fa(  D   C      Bjlat 


(EJlat  DC    B/a( 


:pk 


106 


;ee3 


^Pl 


ai_E3^ 


f=t 


:|=t 


197 


JS| 


EEJEEI 


-^ # 


fzzti^==t=|:z=t 


198 


^6f 


-^ — *=f-* — *=F- 


E=3^E^E3 


S 


*-l- 


i 


d: 


5 


f- 


1.  The        air        is        balm  -  y  and      se     -    reiie,      And        all        the 

2.  Then      let        us        wel  -  come     pleas  -  ant     spring,     And      still        the 


m 


sweet,     lux    -    u  -    riant     scene     By        thee      is        clad       in  ten  -  der 

flow     -  ery       tri  -  bute      bring,   And      still      to        thee      our        car  -    ol 


i 


^ 


1^- 


^ 


3 


green,    0     love 

-   ly 

May! 

O    love 

■  ly 

May! 

ing,        O     love 

-    ly 

May! 

O    love 

-   ly 

Mayl 

190 


55 


:t 


^ 


200 


* 


j — ^— F=# — w-y^ — ^— F-^^ — *- 


f^3 


£i±3: 


201 


^=^r:— d±d--^ 


;2zl2 


^ — I- 


<&- 


^^ 


22: 


202 


SSS 


■.^ — ^ 


^^^3 


--^J— L^ 


203 


^fetBEg^g 


■« — «- 


iE3 


dziM: 


204 


feEiE^^EEgi^^ 


^— * 


^-— ^-, 


ij — # — I — I — J — 


205 


^S 


-1^- 


-#-^^#- 


:^ 


t: 


1.  The     fit  -  ful      A  -  pril  sun  -  shine     Is     wel  -  come  af  -    ter    rain;  She 

2.  Her    gold  -  en  wand  up  -  lif    -    ted  Sends  raindrops  scattering  far,  And 

3.  There's  not  a      per  -  son  sees        her,  But  bright-er  grows  her     face,        There 


i 


h^^EEE^z 


^-■ 


fills     the  earth  with  beau    -    ty,     And  lights     it      up      a  -  gain?" 
flow  -  ers  spring  to     greet      her,    Each  shin  -  ing    like     a    star, 
is         no  guest     so     cheer    -    y,      In      ev    -    ery  gloom  -y     place. 


56 


206 


0—9 h 


s? 


207 


^StEE 


•^— ^- 


■^— 7- 


Hzzqzzo: 


?=^5 


i:=fc:fc: 


^■^t 


3 


-#— ^ 


1.  Lul  -  la  -  by  ba  -  by !  Lul  -  la  -  by  ba  -  by !  Go  to  sleep ! 

2.  Lul  -  la  -  by  ba  -  by!  Lul -la-  by  ba  -  by!  Curl         up  your  toes; 

3.  Lul -la-  by  ba  -  by!  Lul -la-  by  ba  -  by!  Eyes  shut        tight; 


i 


^3 


fci: 


Eyes, oh,        how        naugh    -    -    ty, 

Cud     -     -     die        your        lit     -    tie    knees 
Lit    -    tie    mouth       is  o       -       -       pen, 


■V- 


.      to 


still 

Up to  your 

So, good 


m 


EfcS 


i^iU 


#-^ 


peep —  Eyes,      oh,  how    naugh  -  ty,        Still  to  peep, 

nose —  Cud    -    die  your  lit  -  tie  knees      Up  to    your   nose, 

night —         Lit  -  tie  mouth  is     o    -    -    pen.        So,  good     -    night. 


209 


W^^^ 


Es= 


i=^ 


i^ 


iS-t 


•0-      • 


210 


±=1: 


t^S^ 


^ 


^-iS^ 


:^ 


57 


i 


fc 


t=i: 


r^z: 


E£^± 


E 


The  world       is       so     full 


of 


a     num  -  ber     of      things, 


I'm 


t=i 


S 


sure        we    should    all         be        as       hap   -  py        as       kiugs  —  We  should 


* m ^ 


:pzz=t:=:4 


.* m s 


■I- \-=\^ 


all         be      as     hap  -  py —  we  should    all         be      as     hap  -  py  —         I'  m 


im 


b=* 


^^3=^g 


-0 -0- 


r=^ 


-«<- 


sure  we    should     all 


be         as      hap    -  py         as       kings. 


211 


'^^^^^^i 


212 


# 0 ^ 


213 


|^^=^ii 


^=7=T- 


=^^^^^\ 


fM 


Here    we      go      up,      up, 


up, 


-^-t 


±I± 


And  here    we     go    down,  down, 

n N = 1 


down 


y.  And  here    we     go    backwards  and     for 


^^^I=^M 


-1=3=-*- 


S 


wards,      and 

J ^-?^l 


here  we    go  backwards  and  for- wards,  And  here  we  go    round  and  round-y. 


58 


The  Major  Scale  from  E. 


/I     2  3  456  7  8  A  2 

\8    7  6  5  '8  7 

/E  F. 
\E  D; 


45  6 
5 


/E  F  sy^arp  G  sharp  ABC  sharp  D  sharp  E.         /E  F  s/mrjo  G  s/ta/y?  ABC  s^arjo  D  sharpie, 
sharp  C  .sAar/>  B. 


/EF 
\ED 


sharpC  sharp  B. 


214 


E^P 


E* 


t=i 


l=Fd: 


^i 


H ^- 


215 


r»PP£i 


« 1 M -^ 1_ 


^^i^g; 


q= 


216 


fe^ 


tZ?=IZJt 


-(S^- 


3^3 


-# ^ 


-&- 


217 


iifes^^^^ig^ 


±1 


S3^3 


t=t 


218 

8 


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1. 

A, 

a, 

a, 

2. 

E, 

e, 

e, 

3. 

I, 

i. 

i, 

4. 

0, 

o, 

o, 

5. 

u, 

u, 

u 

Old    Win  -ter  comes  to  -  day; 

Now   ice     and  snow    we  see; 

The  poor    are     ev  -    er  nigh ; 

The  mer  -  ry     chil  -  dren  go  ; 

I      know  what    I       will  do; 


Fall  and  Sum  -  mer  now  are  past,  Win  -  ter  has  be  -  gun  at  last ; 
Flow  -  ers  bloom  on  win  -  dow  panes,  In  the  fields  no  bud  re  -  mains 
Of  -    ten  with      no     gar  -  ment  warm,  'Gainst  the  win  -  try  frost    and  storm  ; 

Christ-Child  each  a       gift     will  bring,    Joy  -  ful  Christ-mas  hymns  they  sing; 

Christ-Child  praise  and  Christ-Child  love,  With  dear   an  -  gels     up       a  -  bove  ; 


i4 


A, 

a, 

E, 

e, 

I, 

i, 

o, 

o, 

u, 

>i, 

^-0-  -^ ■—# ^ 


3^ 


Old    Win  -  ter  comes   to  -  day. 

Now    ice     and  snow   we  see. 

The  poor   are      ev  -    er  nigh. 

The  mer  -  ry     chil  -  dren  go, 

I      know  what     I      will  do, 


221 


^^ 


^-^ 


*=^=ttitq 


^-0 


SE^S 


^-0^^^g-^-0- 


t==±=tr:q: 


222 


la 


p— #  I  -p- 


^— ^— ^-^-  -_J=rzf-  -^— *— #- 


60 


223 


ft 


<&- 


3 1 


Ei 


1.  Un  -  der        the      green      hedg  -    es, 

2.  Sweet    as        the       ros    -    es,        and 


aft 
bhie 


er 
as 


the 
the 


snow, 
sky, 


i 


tt=j 


^^g^E^Ei 


d=i 


:t=F 


There  do  the  dear  lit  -  tie      vi  -  o  -  lets  grow,       Hid  -  ing  their  mod  -  est  and 
Down  there  the  dear  lit  -  tie      vi  -  o  -  lets  lie  ;  Hiding  their  heads  where  they 


f 


tt=3^ 


3=j=j=q: 


E^ 


...  .  -* -.^ * '^"— 

beau  -  ti  -  ful     heads  Un-der  the  haw-thorn  in    soft    moss  -  y      beds. 

scarce  may  be  seen,By  the  leaves  you  may  know  where  the  vio-let    has     been. 
224 


1.  The  seed  that  springs  and  the  bird  that  sings,  And  the  shining  summer  sun,     rhe 

2.  Then  thankful  we'll  be,  for    shall   not  He  Who  gives  to  each  bird  a  nest, — Toeacli 


±!=5: 


ti  -   ny  bee  and  the  might-y    sea,        God  made  them,  ev  -  ery      one. 
bee     a  flower,for  its    lit  -  tie  hour, Give  His  chil-dren  food  and      rest? 


61 


225 


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-<s*- 


3=* 


3^ 


i=± 


■«& «^- 


■^^ 


IS 


226 


^ 


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-721 


6h 


-JSl 


■^. 


4. 


-JS^ 


t=i 


t 


1.  Of    birds  who  sing   in    summer  days  Sweet  car-ols      to    the     morn,       Each 

2.  Offlow'rs  which  bloom  on  summer  fields,  In     ev  -  ery   love-ly       hue,  Each 

3.  Awake,  my  heart,  thou  too  should'st  bring  An  offering  glad  and    free ;         Cre  - 


^g^ 


-^- 


3 


-*- 


E 


1^ 


sings  his    dear  Cre  -  a  -  tor's  praise,  From  whom     all      joy      is      born. 

one     to    Him      its      in-cense  yields ;  Who   sends     the     sun     and    dew. 

a  -  tion's  Lord,  and  Heav-en's  King,      A       Fa  -    ther     is        to      thee. 


227 


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PI 


62 


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1         2         34         5         678 
KJlat  Bflat  C    D/a«  E/a«  F   G   AJlat 


wmmm 


1  2         34         5         678 

A/af  V,jiat  C    D/ai  Eyfa^  F    G    kflat. 


~^jr 


-^- 


lirs: 


v^^- 


t-» ^ 


HEir 


3      4 
6      5 


5 

4  3 


A/af   G 


F     E/af   D/a^     C 


.A/a^    B/a<     C       D/af  E/a< 
Kkjiat    G  F       E/af   D/a<     C. 


231 


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i/-3— rrj 


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ten 


S 


:f-S- 


^ 


^P: 


1.  Sum-mer     suns    are       glow 

2.  Light  of    light!  shine      o'er 


ing       O  -  ver     land    and      sea ; 
us,       On     our     pil  -  grim    way; 


% 


^ 


&^ 


-'-s- 


— *- 


m 


Hap  -  py       light    is       flow 
Go       thou    still      be    -  fore 


ing,     Bonn  -  ti    -    f ul      and     free, 
us        To       the      end  -  less    day. 


es 


235 


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236 


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^- 


t-- 


1.  I      am    a    bold  fel-low  As      ev  -  er    was  seen,  With  my  shield  of    yel  -  low, 

2.  —  Not    a    bit      fear  -ful,  Show-ing  my      face, —     Al- ways  so      cheer-ful 


^- 


I^ 


In  the  grass  green,  With  my  shield  of        yel     -    low    In      the    grass  green. 
In    ev  -  ery      place, —      Al  -  ways  so        cheer  -  ful      In      ev  -  ery    place. 


238 


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m 


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?^l 


^— #- 


-^^ 


m 


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E* 


f:=^i 


EESEE 


:^- 


1.  There  was   a    man  in       our      town.  And  won-drous  wise  was     he ;  And 

2.  And  when  he   saw  the  tree  was  down,  With  all   his  might  and  main,        He 


fcr 


-:ir—-^ 


t:z-j^ 


with     an      axe  and   ma  -  ny  whacks,  He    once  cut  down     a      tree, 
straight-way  took   an  -  oth  -  er      axe,  And  cut      it       up      a  -  gain. 


64 


239 


i^S 


li 


^ — iss— — (- 


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-*— • 


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> 1/- 


s^[^ii^ 


240 


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241 


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11 


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,_f=-=r;=^ 


242 


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fete 


e 


la 


la 


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--■x—^- 


:*=4: 


#— ^ 


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•—^ 


243 


iggggE^pggEgF^^gE 


:^ 


r=F^^E3Eg 


te 


5^ 


■8- 


3^ 


:a=2: 


*— ^ 


1 .  While    my    maid  -  en's  spin   -  ning,        Hap  -   pi  -  ness  she's  win    -  ning ; 

2.  While    my    maid  -  en's  spin   -ning,       Cheer  -  ful  -  ness  she's  bring  -  ing; 

3.  While    my    maid  -  en's  learn  -  ing,  All        to      good    is    turn   •   ing ; 


fer 


\m. 


-•—w- 


*-?- 


d: 


5 


33 


So     will    grow    her  hair      of      gold,      So     her    wis    -    er  years    un  -fold; 
Gai  -  ly     be         her  work     be  -  gun,     End  -  ed    well      her    la  -  bor's  done, 
In     her    spin  -  ning  here      be  -  low,     May    she  learn  her  God      to     know, 


P^ 


V=x. 


^F 


it 


While  my  maid  -  en's  spin  -  ninp^,  Hap  -  pi  -  ness  she's  win  -  ning. 
While  my  maid  -  en's  spin  -  nincf,  Cheer-ful  -  ness  she's  britig- ing. 
While    my       maid  -  en's   learn    -    ing,     AU       to       good      is       turn  -  ing. 


THE 


Cecilian  Series  of  Study  and  Song. 


COMMON  SCHOOL   COURSE. 
PART  II. 

Exercises  and  Songs  for  two  Voices. 

The  Major  Scale  from  C. 


^  -^  -r 


1  2  3         4         5  6         7812         3 

7  6  5 

fCDEFGABCDE 
^C        B  A        G 


The  Chromatic  Tones  sharp  4,  flat  7  and  sharp  5, 


p===^=,=^(|:,)^- 


sharp  4 


^^EEF^-=^=(|j)' 


flat? 


ti; 


:(i^): 


sharp  5 
Copyright,  1893,  by  Silver,  Bukdett  &  Comi'anv. 


66 


i-J-^Li 


The  divided   (half)  Pulsation. 


■***-« 


l-J^- 


-^ 


7-7-?- 


I     I      I 


0—0—0 


Gf 0—0- 


J-s-J. 


^-•-S 


-J-7-#-7- 


-^-U-i 


-7-J-7-;- 


~0 — ^ •-  -(5'  T-  -0- 

7  I     ^T     ,^ 

-# — # 0-  -0—i—0- 


■^?-?-?-?-7- 


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Jl 


^      ^ 


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p^^-#^^-#^^- 


.,-.v^^ 


#-T • # 


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IA  m   r*i   rn   m  I  i  ^    h    i*^    i"^  i     i'*^    i*^    i*^    m 


# 0 — 0—0 0 — 0—\—0 — 0 — 0- 


1         I         I      I 


>    \       ^|   I 

-0 #-T 0—\-^- 


\ 


]^np-n-n-n-n-\ — ^ — ^|_j_nj_,n|_j_^_nnj_^_^rTi._j 


n    H  C  P  R  R  P?|  1^^    R  h^    Rl  r^n    FT" 


9-\-0— 0-0-0-0-0—^ -0-\ 


-^ — « — 5 — 1-# — ,j — -i-^ — J^# — S — 1--#^ — ^ — L_^ — J3_.^ — J — c_  « — J 


^^^^^^^m^^^m 


67 


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mm^ 


-0 # 


r 


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gPii^^g 


^ 


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10 


I—, — I- 


^— — •- 


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3E^ 


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-J 1—, — I !— , — I 


;ej 


^^ 


:^ 


:U 


tzzjr 


«»- 


r 


* 


■4-4- 


ES: 


^=:3: 


• — *- 


The    ros-  y    morn    is    break   -    ing,    Its  beams    I      see     a    -    far;. 


The 


j=pi 


1=± 


'^^m 


S^i 


song-sters     are       a   -    wak 
11 


ing.    And    pale     is       ev  -  ery      star 


1 


3ES 


:t 


-fr 


J: 


t- 


-fi2- 


-^— ^- 


12 


S* 


:4z;± 


3^3 


i— 


i 


'-nic-^ 


^^ 


I* 


es 


13  ,  #5 


^W\ 


^ 


German. 


:ftEi 


■4— «- 


3EEE5 


:43: 


^— # 


=^ 


1.  Come 

2.  Hur 


cliil  -  dren, 
rah      for 


to     -    day, 
to     -    day, 


To  wel  -  come     the 

Ilur    -    rah       for       the 


May!         The 
May!       We'll 


flow    -  ers 
go        out 


:i==i:Sz==i=fzzEtzz==:[:z==i5=z3=E|==5==z-: 


are    spring  -  ing, 
to        meet      her, 


m 


The    birds      all       are      sing  -  ing,         We'll 
And     joy    -  ful    -    ly      greet    her,         Hur  - 


;^ 


:i=1: 


-0 

-I — .<5i_ 


sing. 

too, 

and 

play, 

We'll 

dance 

and 

be             gay. 

rah 

for 

the 

May! 

Hur    - 

rah 

for 

the           May. 

GERMAN,  TR 

pg^pi 


German. 


^i3 


1.  We'll  bring     to     the    Spring-time     Gay     dan    -  ces      and      song 

2.  So        let        us      be      roam  -  ing.  Through  val  -  ley      and     i)lain, 


Who  has 
Till    the 


i 


:l^ 


:^=r=i=E=J=i: 


ban    -  ished      the 
bells        in  the 


Win     -    ter, 
gloam   -   ing, 


T 


So       drear     -     y         and 
Call    home    -  ward        a 


long, 
gain. 


69 


t=^: 


^=V 


d=i 


:J=i 


i&- 


^ ^ 


16 


I 


4 


EE3: 


._4 i»- 


:J^ 


• «-L» ^ 1 


f 


^ J 


English. 


1.  Tell     me  what  the  brook  doth  sing,      Wea  -  ry,  wait-ing      for       the  spring? 

2.  Tell      me  what doesrose -bush  sigh,      Long  -  ing  for     the      sum  -  mer    nigh? 


I — -1 -j — — 1 pH ^ — j J—, — 1 1 , 


"Let    me  free,"  the  brook -let    sing  -eth,"Win  -  ter,  let     me    haste    a-  way!" 
"Let    me  blos-S(3m,"  rosebush  sigh  -  eth,  "Let      me    o   -pen      to     the    day!" 


1 ' = 0 * 0- 


d: 


5 


s; 


rrz, — ^- 


t 

Brook -let  stay     a -while    thy  play-ing,  Soon    the  south  wind  will     be    blow -ing, 
Kose- bud  wait   till  June  comes  to    you,  Then    its   zeph-yrs      soft      shall  sue    you. 


And  to       set   the       mill-wheels  go  -  ing  You  shall  haste,  shall  haste  a  -  way. 
Audits        ar-dent     sun    shall  woo  you     O  -  pen,     o    -    pen    to     the    day. 

W.  VV.  Caldwell. 


70 


The   Major   Scale   from    Q. 


$^^ 


i 


I: 


12       3       4      5 
G    A      B      C    D 


mm 


6       7  8 

E       F  sharp  G. 


^  5:  -  ^  — 

12       3      4      5       6        7  8 

G      A     B      C     D     E       F  sharp  G. 


/I         2         3         4        5         6  ^        /I        2         3        4         r  ^ 

^         7         6         5        4         3        2         1         ^8        7         6        5         ^ 


6 
3      2 


The   Chromatic   Tones   sharp   4,   flat   7   and    sharp   5. 

-i  — .^x^ . .- 


;(p). 


sharp  4 


— •- 


:(S3)^ 


flat  7 


Pi 


my- 


19 


sharp  5 


-i—S- 


i* 


"-t- 


20 


21 


S^ 


— r-T 


t=i^ 


5E3: 


"mm 


1-5 


I     I 


^'J'-' 
P 


71 


iE=f_^__[-gzziqz:piq=z:=qz:qip^ziq=Z(:q==q 


Ger.    Choral. 


m^^^ 


i 


1.  God     is     love,  His    mer  -  cy       brightens,  All     the    path     in  which  we    move; 

2.  E'en    the  hour  that  dark-est      seem-eth,  Will    His  changeless  goodness  prove; 
2.  He    with  earth-ly      cares  en  -  twin-eth  Hope  and    com  -  fort  from    a  -  bove; 


:\=i 


Ei 


f=r=t^=i: 


I 


r\ 


Bliss  He  wakes,  and  woe  He  lightens ;  God 
From  the  gloom  His  brightness  streameth;  God 
Ev  -  ery-where  His    glo  -  ry     shin-  eth ;  God 


wis  -  dom,  God 
wis  -  dom,  God 
wis  -  dom,   God 


is  love, 
is  love, 
is       love. 


Sir  John  Bowring,  1792—1872. 


German. 


-^-'- 


3^^: 


3=EEi 


9? 


d=n 


1.  The  moon  is       up      in     splen-dor,  And  gold  -  en    stars    at   -  tend    her;  The 

2.  Night' s  cur  -  tains  now    are      clos  -  ing  Round  half  the  world,  re  -    pos    -  ing     In 

^ 1 J_^ 1 ^^_, , 1 \- 


-^' 


iTElB 


-2^ 


heavens  are      calm    and    bright;    Trees  cast      a        deep  -  ning     shad  -  ow,  And 
calm    and      ho    -   ly       trust;      All    seems  one     vast,     still     cham  -  ber,  Where 


■U=i 


n^ 


m 


m 


"'  ^  '-^      I 

slow-ly      off     the      mead    -    ow      A     mist     is         ris  -  ing,   sil  -    ver  -  white, 
wea  -  ry     hearts  re  -  mem    -     ber     No    more    the      sor  -  rows  of       the      dust. 

Ger.  tr.  by  C.  T.  Brooks. 


^-^- 


^-^^^— ^-^-"-S— ^-^r 


*=^ 


HiMMEL,  arr. 


m 


1.  When    find     we        at        sun  -  set        re    -     main 

2.  Our       cir  -  cle        as       yet         is        un    -    brok 

3.  Yet      since  Time's  fleet    cur  -  rent    stays       nev 

4.  Yet    though  we       are       scat  -  tered  and       part 

5.  And       if        e'er      we    should  meet     to    -    geth 


ing 

The 

en, 

No 

er, 

Let     us 

ed, 

Our 

er, 

When 

i 


:i=* 


^: 


^:=S— N— ; 


flowers  that     at        sun  - 

voice    from    our       cho  • 

all     make    the      most 

friend-ship     shall    nev  ■ 

we       have  grown     old 


=•^1*  ,    - 

rise    were  bright? 

rus       we  miss, 

of         to    -  day; 

er        grow  less, 

and  gray. 


m 


U^ ''J  I  ^  ° 

The  moon     in       her 

And  kind     are       the 

Who  can  tell     how    soon 

And  ev    -    er      we'll 

May  our       eve  -  ning's 


^T= 


-J_ 


2 :s»- 


wax  -  ing  and  wan    -    ing, 

words   that  are  spok   -  en, 

for  -  tune  may  sev    -    er, 

wel  -  come,  true  -  heart  -  ed, 

sun    -    -    -  set  weath  -  er 


mi 


Gives    ev    - 

er 

a 

change      -     ful 

Could    life 

but 

be 

ev   -    er          like 

And      scat  - 

ter 

us 

far                    a    - 

The     news 

of 

a 

com  -  rade's    sue 

Be     bright 

as 

our 

morn.  -    -    ing's 

^SJ 


♦ — • — 5r 


^:     * 


light... Gives     ev     -     er  a 

this Could    life       but  be 

way And      scat   -  ter  us 

cess The     news       of  a 

ray. ,   Be     bright     as  our 


change     -     ful  light, 

ev   -    er         like  this, 

far  a     -  way. 

com  -  rade's  sue   -  cess. 

morn      -       ing's  ray. 


26 


73 


27 


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— ^      J 1 


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I — ^— r-i — p  •  ^- 1 — t? — I — D~'    ^ — -^-Li-^--' 


32 


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74 


m 


^    ^  ^  ^ 


A.  Randegger,  arr. 
-*^-i — 1-= — s- 


-N !— i- 


U 


-P-^' 


-^-^ 


1.  The    gold  -  en  glow  is       pal  -    ing     Be  -  tween  the  cloud-y 

2.  Are    they   the  eyes    of      an   -   gels,  That    al  -  ways  wake  to 

3.  We     hard  -  ly  see    them  twin  -  kle      In         a  -    ny    sum-mer 

4.  More  beau  -  ti  -  f ul    and    glo  -  rious,  And    nev  -  er      cold  and 


bars  ; 
keep 
night, 
far, 


I'm 
A 

But 
Is 


___, ^ 


iCs: 


^^ 


:d= 


^-i 


§ 


es^ 


m\ 


watch-ing    in 
lov  -  ing  watch 
in       the    Win  - 
He    who    al   - 


the 
a    - 
ter 
ways 


twi  -    light,  To     see      the  lit  -    tie 

bove      us,  While  we       are  fast     a   - 

eve    -  nings  They  spar  -  kle  clear  and 

loves  them,  The  Bright  and  Morn-ing 

A- 

X 


stars, 
sleep? 
bright, 
star. 


'J 

I 

Or 
Is 
I 


wish  that  they    would  sing    to-night 

are  they  lamps  that     God  has  lit 

this  to      tell      the       lit  -    tie    ones 

wish  those  lit    -    tie       children  knew 


Their  song  of    long    a   -    go ;  If 

From  His    own  glo  -  rious  light.  To 

So      hun  -  gry,  cold  and      sad.  That 

That  ho  -  ly    hap  -  py       light!  Lord 


we  were  on  - 
guide  the  lit  - 
there's  a  shin  - 
Je  -    BUS,  shine 


ly  near  -  er  them,  Wliat  might  we  hear  and  know, 
tie  chil- dren's  souls  Whom  He  will  call  to  -  night, 
ing  home  for  them.  Where  all  is  warm  and  glad? 
on    them,    I      pray,  And  make  them    glad    to  -    night. 

Frances  R.  Havergal, 
The  Major  Scale  from  D. 


m 


^8  7 


4  5  6  7 

5  4 


812  3 


.12 

\8  7 


C  sliarp  B 


F  sharp  G  A  B  C  sharp  D  E  F  sharp  /D  E 

AG.  ^J)C  sharpB 


3  4  5  67  812  3 

6  5  4 

F  sharp  G  A  B  C  sharp  D  E  F sharp 
AG. 


75 


The  Chromatic  Tones  sharp  4,  flat  7  sharp  5. 


^m 


■my. 


sharp  4 


F^^k— — i==(^.y. 


^i 


flat  7. 


m 


;(to; 


sharp  5 


35 


m 


F5E3: 


i=^- 


-^— r 


-7^ 


JlT-jZ 


36 


#^ 


tf-4f 


t^- 


'»»- 


#* 


bri 


^-ft. — I — \ 


^m*. 


r— r 


^U 


=F=t 


r=t 


r-'-fi — 


37 


•a* 


\fi 


w 


J — j- 


d==i 


-^ +t-J  — 


F=--^ 


r=i 


EE5 


t=3: 


e: 


J=n 


■s-^- 


38 


S4^ 


|5 


'   I  I  ■ — ^1 


t=^-- 


-M 


^t^^t- 


trpd: 


t=r 


^3 


39 


#5 


'^ipSi^ilp^:^-Si^ 


40 


^ g- 


i 


:2^ 


E3d3: 


76 


1,  I'm      a       pret  -  ty      lit  -    tie      thing,      Al  -    ways    com  -  ing     with     the 

2.  Lit  -  tie        la    -    dy,  when  you      pass,     Light  -  ly       o'er      the      ten-    der 


'lt=4 


-i=H 


U 


:^:^-yi^£ 


spring;   In     the    mead-ows       I       am    found.  Peep -ing    just      a    -  bove      the 
grass,    Skip    a   -    bout,  but     do     not    tread    On      my    meek  and      low  -    ly 

A 


t 


i 


•-—• 


ground,  And  my    stalk    is      cov  -  ered  flat.     With    a    white  and  yel-low    hat. 
head;    For      I        al  -  ways  seem  to      say,     Chill  -  y    win -ter's  gone  a  -  way. 


41 


\—l 


M 


^ — ^ 


r— r 


4— #- 


b7 
-A ^ 


fl:it 


-0 W- 


3^i 


^— p— .5: 


* — e 


^^i=^- 


43 


^^^iS 


^ — ^ ^_ 


f= 


-*— #- 


«-T 


*zj=J=5=z=* 


rr^=^-f 


'  ■   ^ 


44 


Ef^ii 


g^fEEg 


:=1: 


:f=:i=^J- 


#— #— ^ 


fezs=fz:5iH=J 


I  I  I  r  I 


^g= 


45 


d^ 


t=d=F3i 


i^p;^!^^^^^^^.^ 


77 


h=i=^==f=i^=^^=i=f--^ 


0-^ 


^ 


1 


3= 


rj  ^' 


1.  All       ye      nations,  praise  the  Lord,       All    ye    lands,  your    voic  -  es      raise; 

2.  For     His  truth  and  mer  - cy  stand.      Past,  and    pres-ent,     and      to         be; 

3.  Praise  Him,  ye  who  know  His  love;     Praise  Him  from  the    depths  be  -  neath; 


r: 


Heaven  and  earth,  with  one     ac  -  cord.   Praise  the   Lord,    for  -  ev  -  er    praise. 
Like      tlie  years    of     His  right  hand,     Like    His    own     e     -    ter  -  ni    -  ty. 
Praise    Him     in     the  heights  a  -  bove,   Praise  your  Mak  -  er,       all    that  breathe. 

James  Montgomery.    1771  — 1854. 


t'7 


gg=^ 


.-^-si- 


51 


The  Major  Scale  from  F. 


r;'^^^ 

-^-z. 

-  # 

=#= 

— w- 

-0- 

htr 

nzz: 

— w — 

=#= 

—w- 

~'~\ 

1 

F 

— # 

2 
G 

• 

3 
A 

4 
Bfiat 

5 
C 

6 
D 

-s — 

7 
E 

8 
F 

1 

F 

2 
G 

3 
A 

4 
Bjlat 

5 
C 

—9— 

6 
D 

— #— 

7 
E 

— ^J 

8 
F 

b^=*r: 

—5= 

* 

♦    b 

■»■ 



4^* 

-t- 

•^ 

•w 

-^- 

\ 

(s 


r        8         /I       2        3 
6         5        4        3  ^8       7         0 

The  Chromatic  Tones  {^4,  b7  and 


15 


1^ 


;(!*;• 


sharp  4 


(b-c). 


;(^T-). 


flat  7 


TS?^^ 


■(p)^ 


sharp 


52 


^^ 


63 


■r-t- 
-I- 


-#— 


i* 


a^ 


1 


r=^ 


54 


>7 


j}5 


r 


79 


b7 


,-.,  i' 


_!:_.,___ ^ — ,_ — =D 


1.  Through  the  rest    -    ful  night    de  -    fend  -  ed,    Glad    our      song         of  thanks  we 

2.  We     are    met         in  school  with     glad-ness,     Ea  -  ger      each       our  tasks   to 


s=i=r 


sing;        i  -  die  thoughts  and  words  are  end  -  ed ;  Cheer -ful    hearts      to  work  we 
learn;       I  -  die    days    must  lead    to     sad-ness;    We     are    born       our  bread  to 

_s      .     ^     ^     J-**   ^ ^ ._  _* N     v_ 


:&= 


9 #~ 


5 


bring.     We    are     fee  -  ble,      yet  we're    read-y;    Cheer-ful     tem-pers,     fin-gers 
earn.  Youth  is    short-lived,    life    is        press-ing;     All    our     la  -  bors    need   a 


^-s-l— HS- 


:i 


;iEi 


stead  y.      Quickly  bring  us  through  the  day —  Quickly  bring  us  through  the  day. 
blessing;    God  be    with  us  through  the  day —  God  be  with  us  through  the  day. 


i 


GERMAN,  arr. 


^ 


^ 


1.  Spring  -  time 

2.  Vio     -    lets 

3.  March    skies 

4.  Glad       as 


IS 

are 

are 

a 


draw  -  ing  near.  Snow  wreaths  must  dis    -     ap  -  pear 

sleep  -  ing  still,  Brown    is  the  wood      and    hill, 

bright  -  ly  blue.  Sun  -  shine       is  bright  -  er     too; 

bird       can  be.    Sings     he        from  leaf     -   less  tree; 


m^m^^^m^^w^^mm^\ 


Blithe  rob     -     in 

What  means  this 

Should  not  blithe 

Learns        a  new 


sings 
glad 
rob 
round    -    e 


a  -  gain,  Joy  -  ful 
some  tone,  Kob  -  in 
in  so     Spring's    com 


re    -    frain. 

a    -     lone? 

ing       know? 


lay       For         the      green  May. 


64 


'hp-^*—:jr-^r:ir<t 


r-u 


I    I    y   ' 


i* 


-^. 


;|^Eg 


■^=i^ 


i'7 


*    * 


65 


E^ 


\=f=f=t--^=f=:W- 


81 


^ 


^^ 


zt 


:t:«: 


:^^: 


A.  Randegger,  arr. 


1.  Buds  and  bells !  sweet  A    -     pril  pleasures,  Spring-ing    all        a    -  round, 

2.  When  the  wea  -  ry      lit    -    tie     flow  -  ers  Close  their  star  -  ry  ey«s, 

3.  Then  He    gives  the    pleas  -  ant  weath-er,     Sun  -  shine  warm  and  free, 

4.  When  we    can  -  not     hear     you    sing  -  ing    Soft  -  ly     chim  -  ing  lays, 


White  and  gold  and    crim  -  son    treasures,  From    the    cold     un  -  love-ly     ground. 
By     the  dark  and  dew  -  y  hours.   Strength  and  fresh  -  ness  God    sup  -  plies. 

Mak  -  ing  all  things  glad     to  -  geth  -  er.    Kind     to     them  and   kind  to        me. 
Sure  -  ly  God    can    see      you  bring-ing     Si    ~    lent  songs  of     word-less    praise. 


I 


^-0 


-jt-^z 


S^Efe- 


a 1 i-> — I #' ^- 


He    who  gave  them  grace  and 

He    who  sends  the  gen  -  tie 

Love-ly  flowers !  He  lov  -  eth 

Hears  your  an-them,  sweet  and 


hue. 

Made 

the 

lit 

-  tie 

chil  - 

dren 

too. 

dew, 

Cares 

for 

lit 

-  tie 

chil  - 

dren 

too. 

you, 

And 

the 

lit 

-  tie 

chil  - 

-  dren 

too. 

true, 

Hears 

the 

lit 

-  tie 

chil  - 

•  dren 

too. 

Frances  R.  Havergal 


^4^; 


German  Folk-Song,  arr. 


is: 


g 


1.  We 

2.  The 


build    -    ed      a     house,  Founded 
house,  a  -  las !     is       fall  -  en.    We 


5=^ 
^^U 


deep      in     the      rock, 
bow  'neath  the     rod. 


And 
But     the 


$ 


-gr 


^=r? 


^ 


there 
spir  • 


in    God    we     trust  -   ed  Through  per  -  il,      storm  and  shock —      And 
it     still     re  -  mains,    And      the       sim  -  pie      trust  in      God —       But  the 


I 


^^ 


ig 


there 
spir   ■ 


in 
it 


God 
still 


f-^r 


we       trust    -    ed  Throvigh  per    -    il, 
re  -  mains,     And      the       sim  -  pie 


storm  and     shock, 
trust     in      God. 


82 


The   Major   Scale   from    B  flat. 


i 


^^^^^ 


~^^ 


____,_, 


1  234  5678  1  234  567 

BflatG    D     EJlat  F     G     A     Bflat      Bflat    C       D      ¥.flat    F     G     A 


Bflat 


^^^^=r 


'-•^^ 


i 


/I         2        3        4  /^         ^ 

*8         765         4321  ^8         7 

The   Chromatic  Tones  #4,   b?   and   #5 


^ # ,— ^ 

3         4 

6         5        4         3        2 


i 


sharp  4 


S^ 


;(5). 


flat? 


i 


sharp  5 


66 


^=:_-d^^d: 


w^mm 


67 


-J-=f- 


68 


:^: 


251 -'-<5' 25>- 


J— 4- 


ag^ 


B^ 


ti:^- 


^— #- 


i^ 


■^, — g^- 


i* 


I         -'»•    -z^ 


r- 


^a^ 


i=:;5 


r 


i= 


f=f^ 


irrrr^ 


r  r 


I  I 


Of- 


83 


-J ] r--r-— d -J d r 1 

_ ^ , i-^-f # 0 f— •-S^-T — =^ 


c^- 


.-|^— «-^ 1,_       _^ — i_,^_g_     d 


I 


^•-^■g^ 


1.  The     Cuck  -    oo  sat        in     the    old      pear  -  tree.       Cuck  -    oo! 

2.  The     Cuck  -    oo  flew  o    -    ver      a    house  -  top      nigh.       Cuck  -    oo ! 


i 


-^-: 


S: 


=g= 


Cuck    -      oo !  Rain    -      ing       or       snow    -  ing,  naught  cared    he. 

Cuck    -      oo!  "Dear,  are    you      at       home,      for      here      am        I, 


Cuck  -  oo,      cuck  -    oo,     naught    cared  he. 
Cuck  -  oo,      cuck  -    oo,       here      am      I ! ' 


84 


$ 


a 


SwABiAN  Air,  Arr. 


¥= 


■4 1- 


~T- 


t&i- 


Down  by  the  Neck 
Warmth  in  the  plain 
No      friend  -  ly     glance 


ar  stream,     How     fresh      and     gay; 
we      find.        Here    it  is        cold; 

for     me,        Not      so  with    you; 


I 


fci 


^^^ 


-• — r — r- 

Here      of        joy      not 
Bleak  blows    the      moun 
Dear  friends,  though  poor 


a    gleam,    Dull       and      sad         all      things  seem, 
tain  wind,      Like      the     folks'  hearts       un  -  kind, 
ye     be,        Down    there    so      blithe       and  free, 


I 
aft 


There  day  glides 

All  their    de    -      sire 

Fain  would  I          join 

75 


-  er  day  Cheer -ful  a  -  way. 
is  gold.  To  have  and  hold, 
you  too.  Warm  hearts    and       true. 


I 


td: 


Fr^ 


-9      :^ 


•^       -r 


rT 


-F=F 


W 


1.  A  -  rouse  up,   ye    sleep-ers,  the    morn-ing     is        come.    The  sun 

2.  Oh,      lose  not  the  bright^ness  of  morn-ing' s  young  beams.  The  beau- 

3.  Then  rouse  up,  ye    sleep-ers,  the    morn-ing     is        here.      The  sun 

-JT—   i  -N 1 r--  -I , -I- 


has  a 
ties  of 
is        a 


ii 


:to 


t=t 


wak  -  ened  the 
na  -  ture  are 
ris   -    en,    the 


in  -  sect's  soft 
sw6et  -  er     than 
sky     is       all 


$ 


T=t 


hum;      The  sheep  to  the    fields 

dreams;  Your  down-y  bed     leav- 

clear;      Come  out     to  the      mow 

__J I           !        I        1  I           I           . 


^3=hii=5 


I 

go.     The 
ing.   Go 
■ing,  The 
-I 


1 


-g?- 


-9 t^l » • #- 

men  to  the  mead-ow.  And  all  to  their  la  -  bor  till  day  -  light  is  low. 
forth  till  the  eve-ning.  Its  fra-grant  air  breathes, and  the  niglitwar-blers  sing, 
plant-ing  and    eow-ing.    Come  quick-ly,  ye  sleep-ers,  and  come  with  good  cheer. 


:=iiz*=zz&i±^z:fz=:E 


79 


T^ 


J=^i:FJ 


-I N— I- 


ps^ii 


^- 


:2— i: 


80 


#5 


#* 


81 


i=^ 


#* 


#5 


#5 

VOLKSLIED. 


f%=^ 


itii 


__, Lh 1- 


J=i(: 


^=«= 


1. 


If        I      a    bird  could  be,  I'd  fly  with  pin  -  ions  free,    To    thee  a  -  lone; 

2.  Though  I     am   far   from  thee,  I     am    in  dreams  with  thee,  With  thee,  my  own; 

3.  Still     in  each  hour  of  night.  With  tender  vis  -  ions  bright — Vis-ions  of     thee ; 


1 


s 


Since  that  can  nev  -    er      be,     N"o,     nev  -  er,     nev  -  er     be,     Here   I  must  stay. 
But  when  I    wake      a  -  gain,  My    heart    is    filled  with  pain —  I     am     a  -  lone. 
Thoughts  of   the  lov  -  ing  heart,  That,  though  we' re  far    a  -  part,  Mine  e'er  shall  be. 


86 


The   Major   Scale   from    A, 


m 


isi: 


i==^=^l-=i5 


^^r^^ 


12      3  4       5      6  7  8 

A      B    CsharpD     E    F  sJmrp  G  sharp  A 


12       3  4       5       6  7  8 

A      B    CsharpI)     E    F  sharp  G  sharp  A 


/I         2 

^8         7 


fefc 


#^ 


fi 


3        4 
6        5 


4         5  (^         ^ 

54      3       21  '8         7         654 

The   Chromatic   Tones  J  4,   !?  7   and   j(5. 


,____^ 


^Pi 


?harp  4 


« 


r=i; 


;(©^ 


flat? 


* 


82 

lip 


-j^ 


sharp  5 


-s"- 


7©- 


:iE= 


83 


84 


la 


,  Trf-T 


la        #4 


E,^ 


lii 


85 


87 


la 


86  ^5  la 

87  to  ^  ^    ^ 


88  '        L— J      ^  j(4  ^ 


— I- 


€ ^- 


3HEiE: 


:4 — ^■ 


89 


-^^ 


:|fe 


a: 


i 


i 


M 


E.  S.  Cakter,  aiT. 


r-ti 


p? 


£3 


r*   ♦- 


yiiz; 


^ 


-w         — 


f^ 


— r-s<5'- 


1.  Day    by  day    we  mag-ni  -  f y  Thee,  When    our  hymns  in      school  we      raise ; 

2.  Day    by  day    we  mag-ni  -  fy  Thee,   Not        in    words    of     praise    a    -    lone; 


dai   -  ly 


iifzzz^tztzd 


Dai  -  ly      work  be  -  gun    and  end  -  ed     With  the      dai   -  ly  voice   of    praise. 
Truth-ful       lips  and  meek    o  -  be-dience,  Show  Thy  glo  -  ry     in  Thine  own. 

J.  Ellerton. 
90 


tt 


-immmm 


=(=i 


91 


W 


-^-t^-h-r 


1     >j 


''~¥:-^ 


->»— 


_^___^.___ 


i 


I* 


Put  out  the  light,  The  moou-beams  bright  Are  shin-ing    down    on      ba  -by 


3    to 


sweet;  The  black  bat    flies  a  -  cross  the  skies.  The  owl  comes  out      the  mice  to 

I    1^  >  K  .  ,.  .  V  .11. 


meet,  'Tis  evening  now,  And  time  for  bed,  Bright  golden  stars  watch  o  -  ver-head. 
92 


tt^-J 


^^ 


•-^ 


— •— 7-  •-T-S— • 


3=^iJ=:tot:jZ:Fij=f:J 


L'    :? 


1.  Sis-ter,    a- wake!  close  not  your  eyes!  The  day   her   light  dis  -  clos    -    es, 

2.  See  the  clear  sun,  the  world'sbrighteye,  In  at      our    win-dow    peep  -  ing; 

3.  There-fore  a-wake !  make  haste,  I    say,  And  let      us     with-out     stay    -  ing, 


And  the  bright  morn-ing    doth     a  -  rise    Out   of   her   bed     of     ros   -   eS. 
Lo!  how    he      blusheth      to        es  -  py       Us      i  -  die    maid-ens    sleep  -  ing. 
All    in      our     gowns  of    green  so  gay,      In  -  to    the  park      a  -  May  -  ing. 

Thomas  Bateson,  1604. 


i 


:3E^ 


^=:i: 


Si: 


The   Major   Scale   from    E   flat. 


■¥• 


Zi=iZ^^^ 


^ 


1  234  5  678 

^flatV    a     A  flat  B  flat  C    D     Eflat 


1  2    3     4  5  6    7     8 

liflatF    G    AflatBflat  C    D    Bflat 


--±-jg—^ 


liT-^bii: 


/I  2        3         4         5 

*8         7        6         5         4 


1^^ 


7        8  /I  2         3 

'8         7         6 

The   Chromatic   Tones   j{4,   I?  7   and   J}5. 


3        4         5     6      7 
5         4 


;«). 


IJ 


sharp  4 


:(M' 


flat? 


ifctt 


;(t^). 


95 


'4-«==J=S^ 


sharp  5 


^^h- 


y— ^ 


:=J: 


'-Z5'- 


^5-^ 


*=] 


96 


b7 


iS^ 


:^^ 


s=r 


i=f: 


«— IT 


g 


97 


is 


»3fe; 


;iz:*-tiz=:5±: 


iziq: 


gimp 


90 


-Id 


1.  A      cool-ing  breeze  stirred  all     the  trees  With  music    soft  and  sweet;       The 

2.  A     flower  held     up      Its  f ra-grant  cup,    To  catch  the  welcome  rain ;  Each 


^^m 


rain-drops  fell    In    the    qui    -    et   dell  Like  the  pat-ter  of    fai  -  ry     feet. 
li  -    ly       bell    In    the  beau-ti-ful  dell,      Swing  to     the       low  re  -  frain. 

Margaret  Yeeder. 


98 


Bf-3: 


=1: 


t:p± 


:^ 


irJT: 


I     I 


felSs 


I 

German. 

4 


3^ 

« — «i .  J 


1.  Song      Alls 

2.  Then     for 


our         life  with      beau    -    -    ty.        Song     bring  -  eth 

the         Fa    -      tlier's    kind      -      ness,     Let  us         our 


m 


3.  A 

4.  Oh, 


song        to  friend  -  ship 


al 


so. 


Which    heart       to 


let 


our       souls 


to 


good     -    ness,    Hence  -  forth      de 


i 


EEJ 


t-^ 


:zd: 

— «- 


d: 


I 
and 


=1=1 


3oy 
voic    -  es 
heart     doth 


vot 


ed 


love; 
raise, 
bind; 
be. 


r  r  I- 

Song  is         God's  an  -  gel       sent 
With  heart       and  soul       u    -    nit 
A     song        for  home    and     coun 


d=j 


US,  To 
ing  In 
try,      A 


And    life 


shall  be 


to 


us 


lead  our 

souls 

a    -    - 

bove— 

To 

lead 

our 

souls     a    - 

bove. 

songs  of 

grate  - 

ful 

praise- 

In 

songs 

of 

grate- ful 

praise 

song  for 

all 

man   - 

kind— 

A 

song 

for 

all    man  - 

kind. 

song    of 

ju    - 

bi      - 

lee — 

A 

song 

of 

ju  -  bi    - 

lee. 

Hoffman  von  Fallersleben. 


91 


99 


,^1    ^1       ,      (      ^     ^     _ 


100 


l^!^iS|g 


q=?=: 


-^^f—^- 


■±-^rT — — r"^ P"^ — l-d— pq- 


5z±:iz:5=5z:5=5=5 


7-?-'=5-^-^-^l-T 


-^-? 


7-^- 


102 


¥ 


:fc 


1=^ 


S 


• — -* 


^s — » 


1^5 


103 


bT 


:1E3; 


-•— b-* — ^ — •- 


^ 


I'T 


Ayling. 


rfej 


:i!=~ 


d=:d=^: 


.—i^^ 


* 


1.  There's  not     a    tint  that  paints  the  rose,   Or  decks  the    li  -  ly      fair,  Or 

2.  There's  not     of  grass    a       sin  -  gle  blade,  Or    tree      of    lov-liest    green,  Where 


:i 


<&- 


i 


streaks  the  hum-blest  flower  that  blows,  But    God      has  j)laced  it    there, 
heaven -ly     skill     is       not     displayed,  And  heaven -ly      wis  -  dom  seen. 


104 


f—^ 


i^^^-^- 


0-^0^^ 


-^^-n-^^-^- 


:-N-^- 


-^7-?-^7-7-'=,#;T^ 


r- 


92 


The  Major  Scale  from  E. 


^^^^Mmm^^^^m^i 


12  3  456  7  8 

E    Fsharp  Gsharp  A  B  Csharp  Dsharp  E 


12  3  4    5    6  7  8 

E  F  sharp  Gsharp  ABC  sharp  Dsharp  E 


i^^ipii^Ei^ 


^8          7 


3         4        5 
6         5        4 


6       7       8 


il 


2         3         4        5 
8         7         6         5        4 


6       7       8 


The  Chromatic  Tones  sharp  4,  flat  7  and  sharp  5. 


& 


■<m 


sharp  4 


;p 


fe 


(0y 


flat  7 


!»=== 


•(E)- 


^ 


^ 


sharp  5 


106 


^^^s^^^^^^mi 


a- 


106 


?Eo: 


:i^J 


#-#- 


107 


:g— ± 


:S=i 


T« «- 


108 


«5 


t=:j: 


s 


93 


,-^j^ 


109 

It 


t'T 


|5 


:g- 


#* 


^igaiig|ilS|i^^^^S 


^    (  Sweet  Spring  is 

\  Now      fair  is 

2   (    And      then,  O 

\    The     voice  of 


re    -  turn  -  ing, 

the      flow  -  er, 

thou    kind     one, 

thy       mu    -   sic 


She  breathes  on  the  plain,  And 

And  green      is  the  grove,  And 

Thou  cam  -  est  so  mild,  And 

Was  heard      in  the  grove,  The 


=J: 


^-^5        g-" 


mead  -   ows 
soft  is 

moun  -  tain 
balm         of 


are  bloom  -  ing  In 

the  show    -    er  That 

and  mead    -    ow.  And 

thy  breez    -    es  In 


beau 

-    ty 

a 

-   gain. 

falls 

from 

a 

-  bove. 

riv 

-     u 

let 

smiled 

vit 

-    ed 

to 

rove. 

t=i 


d=p:J=4 


^EU 


:SE3 


:d=J: 


-       '— •       •      ■*  III  ^-     -       -       - 

1,  Full  glad-ly        I    greet  thee,  Thou  lov    -  li  -  est    guest;   Ah,  long  have    we 

2.  Now  welcome,  thou  loved  one,      A-  gain  and     a  -  gain;    And  bring  us     full 


^^^^ 


3: 


wait 
ma 


ed      By    thee     to    be  blessed!  Stern  Win- ter  threw  o'er    us 
ny  Bright  days    in    thy    train ;     And    bid    the     soft    sum-mer 

I        I 


His 

Not 


jzd— J4J-3J 


-*■      '         I 
heav-v,     cold  chain:    We  loneed  to    be    breathinc    In     free-dom    a  -  trai 


y,     cold  chain;    We  longed  to    be    breathing    In     free-dom    a  -  gain, 
lin-ger     so     long;    E'en  now    we  are    wait-ing    To    greet  him  with  song. 

Gek.  tr.  by  C.  T.  Bkooks. 


94 


110 


f 


m 


1.  Lit  -  tie  rob  -  in 

2.  Lit  -  tie  lark    up 

3.  Ti    -    ny  torn  -  tit     in 

4.  Soot-  y  black-bird  in 

1^ 


in     the  tree, 
in     the  sky, 
the  hedge 
the  field. 


Sing 
Sing 
Sing 
Sing 


-^: 


a  song    to      me; 


a  song  to 
a  song  to 
a  song    to 


me; 
me: 


33: 


=*-f=^:^ 


-U 


Sing  a  -  bout  the  ros      -       es 

Sing  a  -  bout  the  cloud    -  land, 

Sing  a  -  bout  the  moun    -  tain, 

Sing  a  -  bout  the  far     -      mer, 


m^m 


On       the       gar-den  wall,. 

Far       off       in     the  sky;  . 

Sing       a    -    bout  the  sea, . . 

Plant  -  ing     corn  and  beans, 

I  _ 


^mi 


-N- 


0-j^ 


3 


Sing      a  -  bout  the    bird    -    ies, 
When  you  go    there  call     -    ing. 
Sing      a  -  bout  the    steam  -  boats. 
Sing      a  -  bout  the    har      -    vest. 


On  the    tree  -  top  tall. . . 

Do  your  chil-dren  cry?. 

Is  there  one     for  me  ? , 

I  know  what  that  mear 


112 


wm 


^m^^^^^^^^ 


95 


^ 


The  Major  Scale  from  A  flat. 

-\t^ «— '^^rbd 


t 


^^Zizkl^gbS 


■^- 


12345678  12345678 

A  flat  B  flat  C    Bflat^flatF     G     A^ai        AflatBflatC     BflafEflatF      G     A^a« 


ffc 


:S 


^^--i=fe 


tei^ 


;gk 


:^-l7-r-^ 


/I        2 

>8       7 


2       3 
6 


i^-»-    b:5^ 


4       3 


V8         7 


4        3       2       1 


The  Chromatic  Tones  sharp  4,  flat  7  and  sharp  5. 


fS^- 


;(i 


P 


(b^-)^ 


sharp  4 


;(iz): 


flat  7 


SS^E^ 


:(t!: 


114 


127 


:ar: 


sharp  5 


-l^-J- 


~4 


115 


#4 


.^__.__^ 


iz=^ 


-5 — ^ 


P^i^ 


-^-# 


J3=^=p^j 


iSEES 


^-^— g-1 


^.^._, 


116  I      ^  J(4 


K 


:q 


=1: 


;i^i3 


fe 


L^ 


96 


117 


118 


^ 


:s: 


4—^ 


:f=i: 


#-• 


--^ 


3= 


:=t 


^i=S 


i 


Eg 


F=j: 


:«_($^ 

1.  Where's  the  use  of      sigh  -  ing? 

2.  Fly   -  ing  and  de  -  fy    -     ing 

3.  Look!     to    -  day  is      dy    -    ing 


a=iEEgEEj: 


m—^ 


tzi=|=±zf: 


Sor  -  row     as      you       may, . . . 

Men     to      say     him       nay 

Aft  -  er     yes  -  ter    -    day; . . . 


4.      Fly   -  ing      and  when  cry   -    ing         Can-  not  make  him       stay;.. 


fe 


:^ 


:??: 


^5_L- ^_L- ^_L- 


Time      is     al  -  ways  fly   -    -  ing  —     Time     is  al  -  ways  fly 

Where's  the  use     of    sigh     -  ing  ?     Where's  the  use      of      sigh    - 

Time      is     al  -  ways  fly    -    -  ing —     Time      is  a-  -  ways  fly 

Where's  the  use     of    sigh     -  ing  ?     Where's  the  use     of      sigh    - 


ng? 

ng. 
ng? 


W.  E.  Henley. 


119 


fe^^ 


^^=i=:^ 


r=F=S 


^ 


#5 


120 


THE 


Cecilian  Series  of  Study  and  Song. 

COMMON  SCHOOL   COURSE, 
PART  III. 
Exercises  and  Songs  for  two  Sopranos  and  Alto, 
with  added  Notes  for  Bass. 


The  Major  Scale  from  C, 


G  Clef. 


I 


F  Clef.   O 


-^ s^ «- 

2                3                4                5                6                7  8 
.- —^ « ^^ 


-6f- 


'J5Z. 


> 


The  Chromatic  Scale  from  C. 

The  large  notes  are  those  of  the  Major  Scale. 
The  small  notes  are  the  Chromatic  deviations. 
Ascending. 
1  2  3  4  5 


* 


i 


#1  #2  #4  §5  #6 


g^======^==i=^z=|^==^=i^=z^^ 


&=^=S.,=-£E| 


1^ 


Descending. 

8         7 


-^ [?-» 


^r f^ ^ ^^ ^ J2-,- 

[77  N  bo  M  i?2 


-(5*- 


>  (97) 

Copyright,  1893,  by  Silvkr,  Bukdktt  &  Company. 


98 


i 


The  Enharmonic  Scale. 

3        4  5 


-fi3^^-^=|--^^fl'-^t?^^^ ^^ 


m^^^^^^^^^^E^i^^^^^'--^'^'-^'^^^=^] 


Exercises  in  Time. 

Undivided  Pulsations. 


2     JL-J 

^ 

— 

U    - 

^       1 

^  T 

"  J   J 

2       ^       ^ 

2      J       J- 

S       )\ 

1 

J     s 

iv           J 

1    i 

J    J 

4      '       ' 

'^ 

'^ 

sT  J  JU 

^ 

>- 
J        2 

J   _ 

7  -  J 

J  J  J 

4  •     •     ' 

rv       i^        ^ 

-  a        ^.. 

"^                «? 

*^     w 

i-^'^-^ 

•f        •?        •f 

1 

>•        *f 

J                 •« 

_.^_^_^ 

/  '  ,^ 

,^   ^    ,^ 

-0 # #- 

7       7        / 

"'   * 

R           7 

•        7 

y. 


d=i 


fe:: 


^^ 


L^^ 1  _^ — #_ 


:^ 


n-^- 


t-^ 


■JSl 


Pitd: 


^=J: 


r-4- 


-'^m 


f^f^^- 


f^^^^^^ 


"»-  -#• 


ai* 


^g^B^^^^^^J^^ggJ^ 


99 


Jr 


^m^M 


.^___ 


:d: 


m 


\ 


ms^ 


pip 


;±=i 


p 


S¥^= 


■.^=-g: 


m\ 


m± 


^ 


i* 


1'7  _ 


4~^- 


^: 


*=H-±3 


tP=?t-^ 


^.^ >- 


1=^=^: 


I 
Jt4 


#— S-^ 


N 


lis 


.  »* 

ii^ 


lT:dq::4=i 


F 


b7 


::1=i 


■*•     -ST 


^iPpEEtE^ 


H] 


Exercises  in  Time. 

Unditided  Pulsations. 


|4    I     I    J_l 


4 


S-S-S— S-H* — h- — h*- 


II    I     I      I     I    I      I        Ij  I 


J8J_J_J_^JLJ. 


-# — # — #- 


J-.-1 


!        I 


I      I      I      I 


^  I     h 


-JL 


III! 


n-n 


100 


^f 


3^-* — *- 


-J— ^1 

-0 « 0- 


':^=^ 


4r 


\ 


i— •— * 


-<9-T 


E3: 


t=3: 


ili 


t=: 


g^lE^^^E-E-pEEEl 


?=^2=t 


d=d=rJ=t 


--p=i=^-i 


T=t 


d=d: 


3=5=^ 


• — , — * 


^ 


:aEEE-' 


mi 


-tzzs:; 


5^E 


*---^=± 


^^ 


r— r 


3=3: 


^^g3: 


3= 


=^: 


3bd^ 


-H-^ 


#— *- 


f^ 


\a=t: 


LU_,_^ 


•— ^ 


t; 


^ftEfeS 


^■S-H/ 


i^ 


?^EiEEE^^7E; 


»  .  *  -   * 


'  101 


Exercises  in  Time. 

Divided  (half)  Pulsatiot^s. 


||-.n-^,-,-,-^-jaj-|-J_,a-|A-A-|-7-A-4J^J-7|J--'r-| 


3      R     R     R 

g 0—0—0—^—0—0- 

O 


■n^n-'i-n-n- 


i''       i'^       ^ 


^      ^      ^ 


^   ^   ^  n  I   r 


-^-0^^-0^^-0- 


.J-.-.M 


1^     ^  ,^ 


10 


11 


■^ 


-zjzi= 


_„,_ 


H-«-^-. 


i 


I=S: 


=5^ 


|i=zS; 


-N-  -H— - 


.^_. 


\ 


^-#^-,  0 


12 


#4 


p 


^=i=^ 


^=1=^=1==^ 


i^zzin 


i 


g 


•^--* h 


l^H 


■^ — f=Ezj^ 


-^ — ^ 


E£^t 


:±:: 


I 


The  Major  Scale  from  G. 


-d 


^ ^ r^ 

-^-  -^9-  ^ 

12345678 


ml 


~rr 


-«<- 


The  Chromatic  Scale  from  Q. 

The  large  notes  are  those  of  the  Major  Scale. 
The  small  notes  are  the  Chromatic  deviations. 
Ascending. 

1  2  34  5  6  78 

^-i ;4 ^ )i(-^ ^ <2- 


|:^^==^^=^=^jr=^^^=5|^ 


.-sz=#2: 


>-    -     F    ■-     "^   ^"' 


-»-: 


-* «'- 


tl  12 #*  jj5  j?6 


T 


Descending. 

8         7  6  5 


-^ /^ 17^ 


-^ 12» 


•^       -*-     -^     >■»■    ^     ^^    ^ 
b7  K  b5  bs  b2 


p|EEgE^^|j=g^b^^_^_^^..::^==^^^__:^^ZZZ^ 


\ 


y, 


The  Enharmonic  Scale. 

3        4  5 


^^j^r^ig^P^^i^i^^^fe^fe-^'^^^^^l 


103 


-# — # # 0 0—0- 


Exercises  in  Time. 

Divided  (  half  )  Pulsations. 


I — 0-^ 0 0-^ — 0 ^0 0 — 0 0 — 0 •— [-• * • • # • h7 •— 7 0-^0—^—0 1 

|6    n  n  n  r.  n  r,  I  I       n   i       n  i  i .     m  i .     rru 

Y^ — 0-0-0-0-0-0-0-0-0-0-0-0 V-^ 0—0—G^ 0—0-Y^-- #—#—#—•-- 0—0—0-1 

1^— #—#—•—#—#—#—#—#—•—#—•—#— j-#-- — 0—0 0-^ — 0—0 — V-" 0—0—0—0 — 0 0 1 


1^1^ 


13 


14 


5gl 


'-WW- 


1=1: 


leiiiii: 


g:  i^  ^    -^  *  '  ^  ^ 


.-^—^cf — ,.  ,G_-r_# 


ii^lii^giiiip 


fe 


^-^ 


=^=^^i^ 


T- 


idznz: 


•-0 


3E± 


^3E«E:i 


1=1: 


^! 


\ 


-*-0,zi  -3^  lit    =5: 


#-#^ 


15 


\^-0- 


•  — ^•— F* — 5— F* — i(- 


16 


te: 


;feiEM: 


te 


»— J=±« 


1 


^-?— s 


-J 4 


'^:::T 


:=1=z=d: 


\ 


P^ 


104 


17 


Vt^«==:r*-_£=: 


#— , 


^-t 


-0 m •- 


r — ^—-r 


± 


-^-V ^-T- 


■r= 


#— »— d 


N 


*-*— H 


r^^^^--^-' 


^-^ 


I- — -  ^ 


=^#=SFr 


-?--^ 


:izz=r 


:d=-.z=5: 

-0 • 


^ 


18 


19 


:Mi 


-^- 


:^EE^:5E^ 


— s^.^ 


I      ^1 


^ 


-fi' — ^- 


i 


ZJZ 


^^^^ 


J=3 


Iee 


N 


* ^~ 


gPfe^l^ 


:dz=2: 


P 


20 


I.-—0 ? :^- 


N 


^^^^^-^^ 


-^ — • 


rzd=d=J: 


21 

:|^q=dz=::1=q: 


4^^ 


g— ^— 5— ;-E-g-^-g 


-^— 


^^ 


5    5* 


^i 


p|4^-^i-^— *I 


-f— «— jrzig: 


:?==»: 


:±r=tz=:<i=:s: 


105 


^^ 


2l3 


^^m. 


■7=i 


;«=*: 


3^5EE3 


t=i 


b7 


r 


-4-«- 


b7 


i^i^ 


i^-^ 


i^^^m 


±=tt 


f— »--^ 


^-ii- 


^^ii: 


;M3EE5Ei=-^^^E?3 


•-v---^-::;- 


Sfe 


Al 


-J N- 


-g=p»-^-^#-^-#— #  h# ^^- 


ii@i 


A  ii 


24 


L-^-1- 


-^ — ^— ^- 


.^•-H-^4 


i=.-=lT:± 


:* 


4l 


_^__. 


Fz=t=t: 


# — ^ 


— I i 1- 


p =^-^j«-T-^-»  i^^ 


._-=p:-. 


25 


:^i=i= 


:di=-: 


:# — y — 0 — 0 — h# 


r^- 


S=±^i: 


\ 


-#■        Ti-        -Tt-        T^        -#■ 


::1=:1=:^: 


^    :5t 


b^=- 


:£5E^:^: 


•*•  •^'  -••  ■^ 


^=1^^^^ 


106 


y^Ai 

The 

Major  Scale  from  D. 

^ 

^ ^1 

1 

^ 

2 
-5^ 

3 
^ 

4                   5                    6 

^ ^ ffl _ 

7 

J 

8 

■ 

...- 

y. 


The  Chromatic  Scale  from  D. 

The  large  notes  are  those  of  the  Major  Scale. 
The  small  notes  are  the  Chromatic  deviations. 

Ascending. 
„     1  2  3  4  5 


% 


* 


fi 


12 


}^^-^- 


=^=#^ 


A 


Desc 

ending. 

7 

6                     5 

4 

3 

2 

1 

T^lt— 

, 

1 

/s^     a.« 

— « — ?•• — ;5— 

— t2a— 





^ 

1 

t^7 

be 

b5 

-V*- 

zzszz 

^2 

» 

• 

Lf.* — 

*     1 

N 

>v 


:| 


The  Enharmonic  Scale. 

3        4  5 


j}lb2  }f2t73  j(4t75  #5bG  #Gbj 


^-3: 


lazTj 


Exercises  in  Time. 


107 


Divided  (various  fractional)  Pulsations. 


^.U-.^ 


m  -i-m — #-T-#- 


-H 


-# — # — 0 — • — m — 0 — 0 — 0 — 0 — 0 — 0 — 0 — 0 — 0 


-h-#-v-# — 0—i — 0 — 0~-i — 0 — #-T — 0- 


I-. 


r^,  pn  I  I 


0— V0—^— 0^0  0-0— 0—^—0  0  0  0-\ 


^ 0-0-0-0—^ 0-0-0-0 


\ 


26 


i^fc 


27      #4 


ft-!— r-J- 


^n    il 


i        I  I        '        I 


fe 


— -^v 


^ 


iife^ 


J!|rJ?z=*::S:« 


=:1=q- 


tTiz. 


d= 


-^i- 


"ff^4>-=!= 


'fr 


=««-» 


% 


A 


\ 


1- 


ii^=pi 


1^ 


#5 


*-* 


ii 


10^ 


/r 


28 


"tth*>  ■■—■*? 


TJ^ 


i'^=iP=^=r=^=,^?=*=-=^^ 


#— •— # 


!^;^?zf=p=t=f 


«— #— ^ 


# — ^ 


-# — « — #- 


g5^Egg=^gg^ 


^1 


29 


t* 


b7  |76 


IS* — 


4. 


ipi^3 


|77        be 


tr|: 


fe^feg^ig^E^EJg^iE^E£g^gpE5 


30 


i:oz:iezz*z#zt«:z:«ija:»zr8r:fit*iz*z: 


fEiEr=^="5fe|^ 


5         3: 


d==:: 


31 


r—*-* — d— »— •- 


i^ 


'#*=*■■ 


:5rt 


li 


#-'  u 


>-— *  » — -j-^-*^ 


d==— +- 

-#-T •-T 


-.-. '-i-^-^^ » 


V- 


/.: 


32 


#^ 


109 


:^ 


_^-i. 


^ '  r  ar'  I 


iP^^^^i 


^w- 


::| 


*|- 


:1^: 


1 \- 


-^— 


-0"^       -T       -^    -^-^       -0-        ^ 


-— ^-^- 


^^ 


:q=-i,z: 


^-n» 


3=1: 


^ a^ 


33       M  34  j(5|4 

4^--^-^^ ^-'=^=F=1 I  I^Ict^ j= j= j= j^pq^zzHffcjz 

rj    u  ?j  ^    ij  '     i^  ; H  I     ^^  •         I -I 


:| 


'ii 


\ 


i23 


3=3: 


't# 


"ZT 


-0 25( 


35 


&Ih 


I* 


f^ 


'«* 


-s- 


i==z^=±zi:^. 


^^E 


1-7- 


_ —  ,- 


iliSEig^fe 


>i-i-#- 


^ig3 


m 


no 


^Q 

The  Major  Scale  from 

in                        <5 

F. 

» 
— ^ 

^ 

-^    1 

■^ 

1 

2 

3                 4                 5 

6 

7 

8 
^ — q 

\ 

^            - 

^ ._ ^ 

1 

The  Chromatic  Scale  from  F. 

The  large  notes  are  those  of  the  Major  Scale. 
The  small  notes  are  the  Chromatic  deviations. 
Ascending. 

1  2  3  4  5 


y  1  ::  o  * 


#1 


"2?- 


"zr     Trw 


i* 


-%* 


#5 


f 


i 


% 


Descending. 

8  7 


i 


itr.: 


-^- 


-^•- 
bT 


-l2-»- 
>6 


:te 


-Z?" 


b3 


b2 


s 


:©=!?.-«: 


:^ 


5i 


:te 


The  Enharmonic  Scale. 

3       4  5 


j;i>2  Jf2l?3  ^4t75  }f5|76  jj6i?7 


^ 


rj=^^i=fTl5EpEE^I:^E^ 


Ill 


Exercises  in  Time. 

The  Tkiplet. 


4—-^ 


H-1   H-1   H-n 


yt 0 — 0 0 — 0 0 0 0 0 0 — 0 0 9-\-9 0-0-0 0 0-0-0-1  -0-0-0 0 0-0-0 — 0—1 


36 


.-^ 


I— ^- 


37 


m^ 


\ 


i=Fd=* 


n 


3Hi 


^f--^=^? 


Jtaarf 


m^m^ 


b7  #4 


K  |4 


38  |4 


12 


liii 


:|^q: 


^P^ 


:=:1=fc 


-, # 


-«- — ^- 


1         I  —I         I 


UlilipH^iiJ 


ii-3i 


-•■     H-#      •♦  •♦  -^      -•■ 


N 


§4 


-(^- 


iiiizzizi: 


^ 


ii2 


39 


i* 


40        p 


-*^ 


tc^rfd 


HVEii^E^^ 


i^^ElESg 


P 


n 


*-zi' 


=ss 


N 


m 


^-^ 


^^ 


m 


#1 


i=. 


i^3 


N 


g^fts; 


t=:t:; 


£ 


'Mi 


y^ 


41 


■t--^-- 


4==1: 


N 


"51- 


:a3 


^===1=s- 


m 


f=±f 


-0 # — #-  -r 


^^J 


42 


:5*d: 


'-■4- 


^— J— I A- 


J-'    4- 


:d=t4 


tiE 


I— I 


i^^^^^ 


^^ 


fcd: 


\ 


^:i^ 


>7 


b7 


4=q: 


-^— 


■A-=^ 


^HE^il 


-^-j 


1^ 


-<^- 


The  Major  Scale  from  B  flat. 


1 


5> 


113 


-&- 


\ 


The  Chromatic  Scale. 

The  large  notes  are  those  of  the  Major  Scale. 
The  small  notes  are  the  Chromatic  deviations. 
Ascending. 
1  2  3  4  5 


S2 


» — ^ 


^ ^- 


i* 


§3 


is 


-^ 


^==» 


—«-» ^- 


j^zi=fl-»: 


> 


Descending. 

8         7 


S:z^:=s=fc 


-<g — iitz: 


l77  K 

-<2 ^ ^-#- 


t^3  l72 


:g' gjL 


fe? g^-— b-tf ^— : 


> 


y^ 


iz: 


The  Enharmonic  Scale. 

3         4  5 


^^^i=pb^R^=^i^i-fi'-=fi-=^-§^?^ 


|lt72  pt-S 


lp^:^:zr|:>te:t|2^^ia:i^§:g:: 


|4l75  foK  pbT 


114 


43 


U^^ 


rr'-^ . 


.=^^^ 


m^ 


^ — -i- 


M.-U-^: 


44 


'^  I- — -I  r     • 


uJ 

i* 


^4  , 


11 


tbf 


V-#-f- 


-^ #— r 


^- 


igilii 


335 


N 


._^_j_ 


i^^t^gJEE^^ 


-^- 


45         }f6  46 


-s — 


ifct 


47 


•/ 


i^  48 


t'T 


» 


:^^ 


^f- 


-  -*-5 


a^^ 


:*-5- 


* J^-^ 


-# — I — *-#-« — ^ — J 


f-^ 


&=:t 


^T-^ 


^-^5 


? 


:E5 


^^E3EJ 


115 


The  Major  Scale  from  A. 


^r 


;* 


sr 

o 


3 


u 


-G 


fe 


\ 


^r 


The  Chromatic  Scale. 

The  large  notes  are  those  of  the  Major  Scale. 
The  small  notes  are  the  Chromatic  deviations. 
Ascending. 

1  2  3  4  5 


1 


-^-#- 


i^ 


g#= 


#1 


§2 


-<9- 


ISi 


:km: 


#« 


^ 


y..  *i 


I: 


t-'^ 


IS?: 


Descending. 

8         7 


:|- 


5 


irjr: 


:»:*= 


^^--^ 


SI 


b7 


I'S 


I'S 


b2 


IJ 


The  Enharmonic  Scale. 

3        4  5 


ly 


116 

49 


50        ft4 


i^l~:s 


<5>- 


:f=ei 


:Me 


Vi 


^f=f- 


;g^ 


.#4_ 


:=q=d: 


gii 


3itE^jf^ 


^- 


-J^ 


^ — a- 


tl 


F^ 


51 


^    =^?=iN=^^=?d=?^^=5T?^ 


-1 — 9 — 0 — 5 — ^—  2— F*  — s — • w — wa — *—  -*-T-^ — .—:^^^ —  r  r  '  ;, N— P^ 


"jatr^ii-. 


£ES^3E£?E^ 


»^^— » — *—"—»- 


^ 


-  jllll      I  I « 

-^ ^H N-^-V 


:^?=^: 


^^ 


'i^-H-v- 


r^=^=^=h=¥ 


y        ^— ^ — ^ — gr- 


-t^ !^ -J- 


.^_^_ 


62 


li;:3: 


-^ ^^4 


=^^= 


-A  ^  ^   ^:    -f  7  t  -* 


l=f 


^^        / 


'u'       • 


lA 


^ 


=t^= 


^---^— ' — K- 


izz::J- 


.^_ 


:^c=:fi: 


-^ 


:)i==:^=±ti; 


The  Major  Scale  from  E  flat. 


117 


^ 


im 


mi 


JZ. 


7 

jSL 


m] 


jO.. 


y. 


The  Chromatic  Scale. 

The  large  notes  are  those  of  the  Major  Scale. 
The  small  notes  are  the  Chromatic  deviations. 
Ascending. 
12  3  4  5 


it 


=1^ 
11 


f 


:fl^ 


t' 


-b: 


:B2: 


EEElZEE^ 


I* 


«5 


^ 


-^^^^ — ^^ — %^ 


zsuzzflji: 


* 


Descending. 

y               8            7 

6                     5      . 

4 

3 

2 

1 
1 

^2-b 

"^         JSL       ^M. 

b6                   l75 

z?' 

<i 

zrbaz: 

{?2 

«'       !2#       ^     ^t'-* 

—o — 

— <&— 

-^-•- 

■■■«' 

|2-» 

-J 

The  Enharmonic  Scale. 

3        4  5 


^jg;f:|^!i=|^JE?'^E#:^;^ 


:2z=5r-B 


^^-^^^^-..-f^-^=^^^^ 


118 


^ 


X_j IjZZL^ 


54        \>7 


sri^^^aisipgi 


p 


l25=n: 


N 


.^,__j_._^_^ 


a 


*-  - 


^ 


^=:t: 


:!!zzzt 


-t-^-7- 


m^ 
^ 


V 


65 


fcbl^ 


-^^- 


g-=t: 


d==± 


f=it 


iifelil 


pi^^l 


iis 


— ^-^ 


:=l=z=gj_4-J^L:itz=:^: 


l2tt 


:=!: 


-#— ^ 


-#-r(2. 


^^E|H=^S 


66 


86 


¥ 


fSpi^i^^ip 


at=J=n-d 


J ^- 


^^^ 


rf-JJ"  r 


:br 


#4    #5 


-• — « — J. — »-•- 


?=* 


Ir4— r-bg 


^■?^^^= 


^^ 


3Sr==t 


*==«-r=« 


£EEt^ 


t^EEE^ 


jEli£|^£EESE^ 


119 


y 


The  Major  Scale  from  E. 


n 


\ 


Sfe 


7' 

JS2. 


-f5>- 


isr. 


The  Chromatic  Scale. 

The  large  notes  are  those  of  the  Major  Scale. 
The  small  notes  are  the  Chromatic  deviations. 
Ascending. 

12  3  4  5 


y: 


m 


1* 


P 


* 


#5 


-tS>-  ¥:-0-  ■'2. 


fci^-« 


-1^ 


ZSLl 


u. 


Descending. 

7 


S^: 


:Bi: 


'^.     .a.     ^M. 


g§:P — ^"1* s- B-j: 


>5 


:r 


:!J.ii: 
>2 


;t'^ 


^ 


■^^ 


»iE 


The  Enharmonic  Scale. 

3         4  5 


p^=^-:^^^§:iEEi4i^.feEgi:^^ 


|lF2  jf2F3  ji4N  #5K  #6^ 


-|*(rt' 


-5rp 


|^^^=EE^=£iipE|^^l4|a:?^^ 


120 


57 


/-fl^iJ. 


1% 


1    n 


>2 


y 


m 


*=jt: 


t=q: 


I 


#•4 


b2 


:f-*--^- 


-H— 1 liEil: 


d=iz^ 


T^     :3: 


:L=t 


! ^— H- 


'* # 


£5 


:t^ 


^— # 


iF=i= 


58 


yr 


b7 


\ 


^sll 


izi*: 


59  .^it4    5 


M 


^^i^^^^ll 


60  b5 


i-^ 


#— , 


-^==r 


r^i 


i^ 


:--ti 


S 


:z^ 


b5 


\ 


S^ 


E^l=?3: 


"^ — -r^-r j- 


iHPil 


rj^-^zj 


j:^    ^;? 


-zr.     •# 


-^-  — 


121 


The  Major  Scale  from  A  flat. 


u-&^ 

(9 

fj 

/9 

.  '^ 

^ 

#-e^ 

o 

^ 

^ 

if      — 
T 

■27- 

2 

19- 

3 

4 

6f 

5 

6 

7 

8 

^ 

^        1 

^\^r^ 

(^ 

fi<> 

\ 

1^9  b     ^ 

f& 

A 

The  Chromatic  Scale. 

The  large  notes  are  those  of  the  Major  Scale. 
The  small  notes  are  the  Chromatic  deviations. 
Ascending. 

1  2  3         4  5  6  7 


a.- 


1?F^  .,    — . ^: ^— §-# ^ fl:> ^— I 


fcfc^z=tlx 


A 


Descent 

ling. 

7                    6 

-Vm- 

5 

3?     bb"*— 

4 

3 

-[r,- 

2 

1 
=1 

b7 

29       !?-» ^- 

b5 

Z5'         \p\> » 

s 

-*«- 

1 

t?2 

1 

^^^^ 

^ 

-^— bb-*- 

-^ 

The  Enharmonic  Scale. 


3?=: 


|l^2  #2^  jj4^5  j(5M  Jew 


A 


122 


61 


Jr 


^^:s4_ 


£±z^?E«i^ 


izzfziz 


>7 


i=l 


\-x 


m^^ 


\ 


-^  Wr 


M^^i^^g 


62 


-'f' 


fe^¥^ 


b^:^ 


N 


-^_^^. 


,^i_±.. 


igS; 


(S?- 


t-=^- 


^-* 


63 


»^ 


64 


S^iPf^i 


fea 


1.  ^     I""'*'  _J^». 


i^i? 


2zt?zfcE: 


titdi 


-^^ 


\ 


UtTi^^    UK 


^:? 


gii 


#-T- 


tep^gfe^ 


3«=4^T 


-* — — 


66 


te^ 


ti 


*^^^ 


^—F^i- 


i=W 


B^? 


t=^ 


f 8 g 


i^^i: 


s=r 


us 


P 


fcto=:t 


m 


^^=1=^ 


j!z=q=± 


^ a>- 


=F=-F 


ist 


■f=i-i=s=r- 


m 


BIRDS    IN    THE    PINE-WOODS. 


123 


1.     Birds        in 


Gee.    Yolkslied. 


^■^Si=j 


the        pine  -  woods       are 


sing  -  ing       so      sweet; 


'3^- 


2.  Birds 


by 


the       brook  -  side 


are 


=^=P3? 


sing  -  ing        so       sweet; 


J^: 


^1 


SEt 


Z 


^-^ 


-r 


Sing  -  ing    the    long  hours 


a  -  way,     All     through  the   mid  -  sum-mer    day, 


-I: 


=d=z=: 


\  ^     ^     -^     ::i: 

Wheel  -  ing  their  flight  to 


and  fro,     O'er     the    stream,  flash  -  ing    be  -  low; 


'^^      F        ^ — ^ — P— F-*-- 


:i 


H 


1 

Birds        in         the        pine  -  woods      are 


sing  -  ing         so 


sweet. 


;gps 


:d= 


N 


Birds       by         the       brook  -  side        are 


*      *      *        3^. 

sing  -  ing         so  sweet. 


« — F— #- 


M 


^ 


124 


SONG  SHOULD  BREATHE. 


1^*=;— J— i— i- 

Fzj= 

-i    =-1 

Beethoven,  arr. 

=q     q     1 — i     F^^      -*^   =Uq 

1.  Song  should  breathe  of  scents  and  flow-ers;    Song  should  like    a        riv   -  er    flow; 

0  tt 

fi^^t-=^        -        =^^ 

:E^:.-:-^^^ 

,     H 

h- — ^^-^i 

\f&—^-* 0 0 0— 

2.    Pain  and  pleas  -  ures 

III! 

all 

, I 

^ ^ 1 |_j__j ._! 1 0 i-H ^ i 

— *-* »-- i^^ — 4~~' — ^»-T — ^ — 5* — 

man  do  -  eth,  War  and  peace,  and    right  and  wrong, 

t?^^-^-« ^. *^ «- 

zi J     J 

_« — ^ — .^ , — ^_ 

0  — 0 — 3—- 

\^^  ^  r*      \           1 

W                        WW 

r          m     ^ 

^    #          #          #          J 

\ L. 1 

^, 


i=t 


s=s 


-5__ — 0. 


Song  should  bring  back  scenes  and  hours 


That    we  loved, — ah,  long       a  -  go! 


P 


3=i 


^ 


:i=a 


- — 1^- -v 


All  things  that  the    soul      sub  -  du  -   eth,  Should  be  vanquished,  too,      by  song. 

I  I  I  1  1  I  I  1  -         - 


^?. 


^l^-^-f-^ 

^        w        ^ 

in] 3'   J=d 4- 

R ^ ^H 

p  '   '   '   r^ 

Songs  from  bas  -  er  tl 

loughts  should  win  us ; 

Song  should  charm  us 

out        of     woe; 

V    ?T 

'  1 

A    ^1          1 

1            1 

CA)      1 — A 1      -1 

—J — 4— ^-J- ^- 

—J      A  -^^      -, 

— 1 — 1 — 1 — 

Song  should  spur  the  mind    to       du  -  ty,  Nerve  the    weak  and    stir     the  strong: 

11                                                                                                                                                  ' 

^i-* — i — :~i- 

--i — ^ — r—r~ 

—, f- 

--»-— 1 — ^- 

^^i-p — p — 1 — 1 — 

L+       h— 1=:^ 

tzp    r     '    H 

-1 » — ^— 

126 


:i=± 


3z=- 


I^S 


u 


Song  should  stir  the  heart  with  -  in        us,   Like  the     pa -triot's  friend  -  ly    blow. 


Ev-  cry  deed     of    youth  and  beau  -  ty  Should  be  crowned  by   star    -    ry  song. 


it: 


1 


Barby  Cornwall. 


THE   FE5TIVE   DAY, 


^— ^- 


Mozart. 


*-•: 


'lE^^ 


P  U  P 

1.  A-  gain  we're  glad-ly       meeting,  Each  otli  -  er      fond  -  ly  greet -ing,     Our 

2.  The  bells    are     gai-ly       peal  ing,  Their  mer  -  ry    chimes  re  -  veal  -  ing.    Full 


;Bili 


--^t^- 


_i_^ N_^ — ^_3 


3.  The  birds  are  sweet-ly     sing-ing.  And  flowers  a  -  round  us  spring-  ing,  Their 

4.  We'll  cull    the  blooming      ros-es      Be  -  fore    the      day-light  clos  -  es;       In 


fel 


&^ 


I 


te       !-* 


W        P 

mer   -   ry    songs    re    -  peat    -    ing      To       hail    this     fcs    -    tive  day. 
man    -    y  a    joy  -  ous       feel    -    ing       Of    bright  hours  passed  a  -  way. 


W. 


^:^^^^^ 


.^_._,. 


"»~-i" 


ifefc^- 


sweet  -  est       per  -  fume  fling    -    ing      On       fai   -  ry   zeph  -  yrs     light, 
flowers  young  Love    re    -    pos    -     es,      With  bow  and    ar    -    row    bright. 

1^ 0 •— 


12=5: 


-^- 


-^- 


^ 


English. 


126 


HAIL,  ALL    HAIL! 


C.  M.  VON  Weber,  arr.  1786—1826. 

s       s       s 


1.  Hail,      all      hail!  thou      mer-ry  month  of    May!      We  will  has  -  ten     to     the 


n 


^-=x 


=3—^-7- 


-^—r 


\ 


■*    -it    -^    -^ 


2.  Hark,  hark,  hark!      to    hail    the  month  of  May!     Nowthe  song-sters  war-ble 


As__V_L.^ 


-^—^—^-^ 


E 


^—0 


{^^,-^  ^    -^^ 

N- 

Ij              ^              •^ 

"^    ir~"i     "tj  "C: 

^         S         N 

woods  a  -  way,    A-n 

long 

^              H              -1— 

-;^     -^ — ^ 

the  flowers  so 

sweet  and  gay :  Then  a  - 

way  to  hail  the 

~P"i  \> 

/L  h                                             *f 

■■ 

rAv"       k         »         i.       / 

\S\)          ^        ^        ^ 

V     *    V    * 

on     the  spray;  And  we 

will    be      as    blithe  as  they;  Then  a  -  way  to  hail    the 

i^'TV  '"    ,'                            1 

^ 

\^w^     J        ^          -       / 

Xn    u      ^       ^ 

^ 

IS 

V  ri7    _i^       < 

^         ^ 

Ik 

' 

.  ^-— 

r*     .       . 

vr-ti^'    d        J^ 

*^           K 

p                    ^          « 

«'      ^^       p 

nT^       t 

*i             M 

, 

! 

« 

"', 

■'!        #        ,s        s 

*              M 

* 

* 

* 

p      *« 

mer  -  ry, 

mer  -  ry 

May, 

the 

mer  - 

-0- 

mer 

-  ry 

#  • 
May. 

Then  a    - 

n   t-«      '^ 

•r 





^— ^-d 

^^ — 

V — 

K — 

K— 

1^ — 

^ 

-    -i J^       J^     ^ 

mer  -  ry, 

mer  -  ry 

May, 

the 

mer  - 

mer  ■ 

H- 

■ry 

May. 

Then  a    - 

'STS*  U                                                                 "^ 

jk( 

1^ 

K 

^ 

1                    m          0         \ 

^^•i  I?     > 

•» 

1                    f          '        J 

^t"^      S                                             '          ^ 

^ 

^ 

^ 
" 

^ 

■^1        -J       -^ 

* 

' 

' 

^      • 

127 


^£^^ 

=J= 

r-#-v— 

iflz 

~N : ^ — -^ — « 

s 

•1 

\    ^ 

—7- 

~ll 

way 

* 
to 

hail 

— '~^i—^-~: — * — «— 

the      mer  -  ry,     mer  -  ry  month 

— ^5 V — ^ — 

of 

K — 

May. 

Sf — 

-JJ 
—a 

way 

— 1 
to 

— ^— 

L..     ^.^ 

hail 

the      mer  -  ry,     mer  -  ry  month 

of 

—0 — 

May. 

\ 

— f 

1^^— • 

— # — 

— # 

0    ' 

-^ ^ ^ ^ y— 

0 

-^— 

=Q 

MURMUR,  GENTLE    LYRE. 


Se? 


i=i 


C.   H.   RiNCK. 


^ -^—C—J , ^-_ 0 — c '__ 


1.  Mur  -  mur,  gen  -    tie  lyre,  Through  the      lone  -  ly        night; 

2.  Hark!  the    quiv  -  ering      breez  -  es,  List    thy       sil  -    very     sound; 


7—^ — — •" 


■* — --s^--?- 


-(&-i 


3.  Hushed  the  thou  -  sand        nois  -    es, 

4.  Earth      be  -  low       is        sleep       ing, 


Gone    the      noon  -  tide    glare ; 
Mead  -  ow,      hill     and    grove ; 


fei: 


m 


^ 


Let      thy  trem-bling  wire 

Ev  -    ery     tu  -  mult        ceas  -    es; 


Wak  -  en       dear     de  -   light. 
Si    -  lence    reigns    pro  -  found. 


i 


i 


^ 


N^^ 


Gen  -   tie     spir    -  it         voic   -  es  Stir     the      mid  -  night    air. 

An  -     gel    stars      are      keep  -  ing         Si    -   lent    watch    a   -    bove. 


m^. 


fi!=t 


s 


y—* 


1 11^: 


-F- 


1:1^:1: 


i 


Ger.  tr.  by  C.  T.  Bbooks. 


128 


SWEET   BELLS. 


6^k 


Chorus. 


l=i 


n 


MozAKT,  arr. 


=1=11: 


V^zm 


P^^^^i^ 


for  -  ev  -  er, 


for     gai  -  ly  ye    chime:        La  ra 


:D=:ii=^-— a: 


*=:$ 


i=fc=1: 


m 


Sweet    bells, ring  for  -  ev  -  er,  for       gai  -  ly  ye    chime:        La  ra 


n^- 


t=t=^=t 


x--=t 


-^— #- 


^ 


iEfefep:^^Et 


g=ri=s 


BEEiEEpg^ 


f-*- 


:1=:* 


-S-: 


:J: 


^mm 


la,    la,  la,    la     ra  la,  la     la,   la     ra  la! 


^  -0-  ,-0-    -0-    -0-        ^        '    '    *  "^  • 

'  1_  1_         1_  1_  1_         ■!_  1_  1_  ^^        -I  _    I  /-v_^ 


Our  heart  leaps     to  hear  you,     our 

-# — tf — ^^#— 


la,    la,  la,    la     ra  la,  la     la,  la     ra  la! 


Our  heart  leaps     to  hear  you,    our 


lSZ=W=Ai 


t=-\=^ 


»-^-^— #— ^ 


i 


« — »— s-» 


f=F 


Fine. 


S_s-i-s--g. 


f=T=F 


E^: 


«=j=?=r5 


blood      beats    in  time:        la   ra  la,    la,    la,    la    ra   la,    la,    la    ra     la,  la! 


E± 


-0 0- 


^ 0 0- 


3^3 


x=x 


-^-^ 


blood      beats    in  time:        la   ra  la,    la,    la,    la    ra   la,    la,    la    ra     la,  la! 


igzzs: 


■^—^ZZJT 


:t5=1z=^: 


^^1 


^—0- 


v-v- 


-^=t 


:tiz*zz«z=zi: 


f^ 0- 


129 


Duett. 

— # i 


:*zz9' 


IB 


=D=.± 


^m 


s 


I  — r — ^ — ^-"T=^ 

Through  the  year    all        hap  -  py      days      From  your  mu  -  sic       bor    -    -    row; 


:t^: 


Yet  your  voice,  that    cries    re  -  joice,    Brings    a    touch    of      sor    -    row; 


'Tis  your    old      fa  -  mil  -  iar  strain        That     a  -  wakes  the    past     a    -    gain, 


^m^m 


^=i 


^— i 


5 


:i 


'Tis  your   old    fa  -  mil  -iar      strain      That     a -wakes  the 


T 


P—^ 


That 


I 


past 


a  -  wakes, 


gain, 


d=F=d 


ri 


That 


a  -  wakes  the       past      a 


gam. 


I l-n-H 1^^ ^ 1 h 


wakes  the       past 


-     gam. 


:  8=;^^ 


m 


Dear     re  -  membered    fac  -  es 


:ise, 


Days     of      in  -  fant     pleas 


■■& 


D.C. 


I     

Joys  that    set,     but      left      us      yet       Cheer -ful      in      our  meas   -    ure. 


130 


BROTHERS,     HAND    IN    HAND. 


Mozart,  arr. 


mi 


^ 


Vi 


q3^ 


«-*-*— S- 


3 


m 


'-=]- 


1.  Broth  -  ers,  hand      in    hand    in        un-ion;      Friendship's  hour  of       sweet  com 

2.  Thank  and  praise  the  workl's  great  Maker,     Man      is      born    to       be       par  - 


M- 


i^3=^: 


t=|: 


g 


:l^=l: 


3-  — +  1- 


m 


3.      Ye,       the  hope    of       ev  -  ery       na-tion,    North  and  South,  wher-e'er      your 


ifcb^ 


^- 


^^ 


?^E 


ii^ 


z>2; 


-y-]z 


-#— #-^ 


i?^ 


:£: 


:t-s:=|:1=«: 


feEJ=;=B;-|E^ 


-<5^«- 


"*=»=^ 


ta: 


W^ 


mun-ion,        Lifts       us     to         a  high  -  er  sphere:    We     will     build  our 

tak  -  er,        Heart     and  soul      in         heavenly      strife —  Light  and      right  and 


feM^EEi: 


H— #— #- 


sta  -  tion, 


In 


the  East,    or        in 


the  West —  Make  your  watch-word. 


fctfc 


2=3 


-»- 


EE 


-«?- 


<&- 


-<&- 


g 


i 


as    -     pi  -  ra  -  tions     Fast     on  friendship's  fair        founda  -  tions,    Earth -ly 
vir    -    tue  shielding     Truth's  e  -    ter  -  nal  weap  -    ons  wielding,      Hear     the 


12: 


^ 


^. 


'^^^ 


::1==j: 


4=4: 


"Truth  our     du  -  ty,"      Show  to     all       men   vir  -   tue's  beau-ty,        Love     to 


m 


^x 


--X 


a; 


;i 


1 


131 


.;b: 


r 


^— ^ 


^1 


rTti' 


S^2 


ISEE? 


■!9—^ 


i 


aims    shall  dis    -    ap  -  pear —     Earth    -    ly    aims        shall  dis    -     ap  -  pear, 
sa   -    cred  call       of    life —      Hear         the    sa     -     cred  call         of      life. 


S 


^P: 


I 


::t=i 


r^=d; 


— I — >i — 1-— ig- 


1=1=± 


^=zi=:1: 


God       and    man      at  -  test —      Love  to     God      and    man         at  -  test. 


ffctz: 


i=a=i 


:it— f— * 


?— ^ 


(S*- 


:#=:|:i=at 


#^-^ 


E=E^i 


WHEN    THE    ROSY    MORN. 


/ 


Roum). 


Shield,  1748—1829. 


4tt 


1— — iz—iH— i 


S 


LfcZlt 


When  the  ro  -  sy  morn    ap  -  pear-ing,  Paints  with  gold  the  ver  -  dant      lawn, 


353^5^ 


A^ 


-• -4- 


•-4~* 


:i 


Warb-ling  birds  the    day    proclaim-ing,  Car  -  ol  sweet  their  live  -  ly        strain, 


:fct=::*=1^ 


-* — *- 


*N 


--^=T==i=^ 


■#    -* 


See,    con-tent,  the  hum  -  ble    glean-er,  Picks  the  scat-tered  ears         that  fall, 


W 


EE2 


i=d=^: 


» — 3 — -d^^-*    # 


^12 


Bees     on  banks  of  thyme  dis  -  port  -  ing,  Sip  the  sweets  and     hail    the    dawn. 


|s 


^^^^ 


T=X 


13 


-• — ^ 


^—0- 


-•—Yij 


They    f  or-sake    the    leaf  -  y   dwell  -  ing  To      se  -  cure         the  gold  -  en    grain. 


I 


t=:t 


;P1 


t==t 


vz^jL 


_, — ^_ 


:1 hj T-^- 


Na   -  ture,  all  her  chil  -  dren  view-ing,  Kind-ly    bounteous,    cares       for  all. 


132 


Andante. 


THE    LINDEN    TREE. 


Franz  Schubert,  Arr. 


1.  The    Lin  -  den    by   the  door -way    O'er-hangs  the    flow  -  ing  stream,    I've 

2.  The  day        I    wan-dered  homeless,     I  passed  thee    long  -  ing    by,        With 


3.      The  cold  night  breeze  was  blow-ing,  And  on        its    blus-t'rous  tide 


&iM 


t=\ 


td^-fr. 


m 


i 


^ 


m 


:^ 


*4 


r^: 


So     man-y    a      hap   -    py  dream,      I've 
Fast  closed,        I    knew     not    why ;       But 


dreamed  be  -  neath  its    shad  -  ows 
eyes,       e'en    in      the    dark  -  ness 


e 


hat      flew    far 


*    *    ? 

be  -  hind      me  — 


It 

I    dared 


not   turn 


lide. 


Now 


^fc 


-#—3 


«.^j_5_5_ 


carved  up  -  on  its  branches,When  there  I  thoughtless  strayed;  And  oft  in    joy  and 
still     thy  leaves  were  rustling  As  if  they  called  me  "Come,Come  back,beloved  com- 


Ui 


I 


5z±: 


--H—  N  I  -  f*| 


■#-T- 


-N — N- 


man-y  a  mile  I'm    part-ed    From  all  that  then  were  dear,  But  still  can  hear  that" 


^" 


:| 


■»—■ 


:fc?= 


irnj^ 


#-r 


£^ 


-«?-f- 


133 


S^ 


■or a — ^s~ 


:i—^-^ 


^ 


— • — p r   , 

I  - — u     I 

sor-row  Found  ref  -  iige  'neathits  shade  —  Found  ref-uge    'neatli  its  shade, 
pan-ion,  Here  shalt  thou  find  thy  home —      Here  shaltthoufind    thy  home." 


^^m 


n 


s 


-N- 


-^r^ 


rus-tling, "No  home  thou'ltfind  but  here,"  "No  home  thou'ltfind    but  here." 


^jjf; 


il5 


#-=-• 


it-i:^- 


-?-'•'- -f 


ARK    OF    FREEDOM. 


^"fcr^Jrrd: 


:* 


^ 


i=i=^ 


S!^i 


il3^ 


I  r 

1.  Ark    of  Free-dom,  glo  -  ry's  dwell-ing,     Un  -  ion,  God  pre  -  serve  thee  free ! 

2.  Land  of  high    he  -  ro  -   ic       glo  -    ry,  Land  whose  touch  bids  slav-ery      flee, 


fi^gi 


t=t 


33^ 


^^^m 


3.  Vain-ly 'gainst  thine  arm  con-  tend-mg,  Ty-rants  know  thy  might    and  flee; 


m 


&-lEtEE£ 


-T 


:5^a; 


3 


y. 


:J=i 


— I :y 1- 


^ 


fcb: 


When  the  storms  are  round  thee  swell-ing.  Let      thy    heart  be  strong  in     thee. 
Land  whose  name  is    writ     in      sto  -  ry,  Rock    and    ref  -    uge      of  the    free. 


p^psi*gp^ 


:S 


5 


^#— L 


Free-dom's  cause  on    earth  de  -  fend-ing,     Un  -  ion,  God      pre-serve  thee  free. 

-•— ij: 


3 


4: 


-£^E^--, 


±z 


i 


134 


ON    THE    WINGS    OF    MORNING. 


y. 

1 

1 

VON  Weber,  Arr. 

S                        1 

2 

|y 

!       'J       L 

J     ■          ^ 

j\  ii    "1 

iv 

d 

1    '    4 

*    i      1 

i      "     ,           h 

nr^-^^—l 

^ 

' 

2          ^          J 

0 

*• 

J         * 

1.  On 

2.  In 

the 
the 

wings 
mid    - 

*          ^          ^ 

of         morn  -  ing 
day       sun  -  light 

steal   - 
glow  - 

ing, 

Hum  of 
Rip-ening 

1          \^ 

bee      and 
fruit  and 

V    P 

1 

/l  " 

^ 

1                       1 

im  Q     '"i 

^ 

h. 

1              ».           ■ 

k. 

VU  o       1              : '          :              ! ' 

-N 

'  '           A 

1          ^ 

8.  In 

the 

-•• 
broad 

^      ^      * 

moon's  splen  -  dor 

sleep  - 

■0-         • 

Birds    are 

si      -    lent, 

(^^•  p     1 

■  1 

m             • 

tf 

1            1 

f            P 

5i^-u J 

! 

-A 

' 

1                1              i.              i 

"^^^-^ — 

— V — 

— 1 

— </ 

-1 ^ 

ll=-" 

=^^ 

1 ^ 

— 4 — 

^   3=?=r 

N         1         H       ^» 

note 
gau  - 

of 

_^__J 1 

bird.  ' 
flowers, 

-  s 

Yoic 
On 

-    es 
the 

new    -    found    life       re    -    veal    -    ing, 
air           their    scent     be  -    stow    -    ing. 

y^ 

1                                                     1 

i?r\       1               ^           1 

1 

1^ 

•.1                   1^         1                >.         1 

vu    -\           P 

] 

-      K        1       1             r».         1               .^        1 

flow  - 

ers 

close; 

-0- 
Wea 

1 — 

-  ry 

— h~ 

la      -    bor, 

home-ward  creep  -    ing, 

1 S 0 1 

S=J — 

i 

-^ 

* 

« 

r            h- 

— f » 1 1 1 

1 '.^ — 

1                ^ 

L_L y ! ^^ J 

y. 


§^^S^| 


te 


Ev   -    ery  -  where  a  -  round  are  heard  —   Ev  -  ery  -  where  a  -  round    are  heard. 
Give  fresh    beau  -  ty    to        the  hours — Give  fresh  beau  -  ty      to        the  hours. 


P 


I 


1=:4;^=1: 


■>* — # 


45^=± 


Greets  the         hour  of  sweet  re  -  pose  —  Greets  the  hour     of    sweet     re-pose. 


P^^^g 


^!n=d: 


i^^! 


135 


IN    THE    WONDROUS,    LOVELY    MONTH    OF    MAY. 


1.  In  the  won  -  drous,  love  -  ly  month  of    May,  When  all       the       buds       were 


:i=q: 


H--±z 


\ 


2.    All         in       the     love-liest  month  of   May,  When  bird  -  pipes    all        were 


m 


1==s: 


-J 1 


-« ^— F« ^- 


V — ^- 


V=^ 


-«— #- 


-// 


1=i 


blow 


P 


f=i^: 


-0 — 5 


^;t 


-q= 


T— r 


'I 

ing,       All         in         my        heart   one        morn    -    -     ing,         I 


^ — ji—i ^_ 


"i^ 


go 


^fe 


^-*— tf- 


lE=E5 


in^, 


went      to  her       con    -   fess 


-^ K- 


ing       The 


wm 


fc±=t=j=i 


# — # — — # — 0- 


^ 


J=± 


-# #- 


felt    that     love  was    flow      -      ing —  I         felt    that     love  was      flow     -    ing. 


p^^^;p^;^^s^^=R 


:::l: 


^—it 


w 


m. 


deep    love    in      me      grow    -     ing —  The  deep    love    in        me     grow    -    ing. 

•«» s- 1  -  a a a a — i 1 i|— 


_^ *- 


:ti=zt 


-^ ^ 


:t=t:: 


-t=t 


JL=W- 


-^- 


Heine. 


136 


DEAREST   HOME. 


V.  RiGHiNi,  arr. 
1756  —  1812. 


t^-:^ 


1.  Dear  -  est  home,    by       me 

2.  All     that  pleased  my      sim 


-X 


a: 


I  ♦       1         - 

so      treas-vired,    Ev  -  erythoughtto    thee  doth 
pie    child-hood  Seems     to    mem  -  ory    still  more 


3^i 


l^i 


I 


3.  At      the      reed 

4.  Dear -est     dwell 


m 


¥=* 


*  •♦•         '■0-  ~-0- 

y      brook    I'm    drink- ing,       In       the  glow  -  ing  heat    of 
ing       of         my       fa  -  tliers,  May     thy  peace  -  f ul  courts  be 


X=A- 


m 


/n 

J 

1^ 

, 

1 

V 

1 

1 

J 

y                         M              y 

J                 1               #,          -     -^       -  . 

/l          1                 •  •           J 

a 

1  • 

1        ^  • 

4 

1 

1 

IL^             1 

m- — ^ — 

^— — 

L_J__._ 

0 ^- 

--5 — 

0 — 

0 — 

-^     H 

1 
fly; 

dear; 

A 

For 
All 

thy 
the 

sake 
well 

0 ^ 

doth      sor     - 
known    vil     - 

row 
lage 

■— # — 

move 
mur  - 

0 — 

me, 
murs 

Long 
Once 

— ff J 

-    ing 
more 

V 

/r 

({V\           \                      II 

1 

1               1               !               I 

vU                            II 

.. 

1             J               1               1 

day; 
blest; 

In 
Where 

the       1 
I 

J- 
^ood 
hope 

5       * 

the        ber    - 
that,     soon 

5 
ries 

or 

gath 
la    - 

-0- 
-    er, 
ter, 

Where 

I 

'mid 
some 

(m\*         (^ 

0 

m 

m 

m 

1 

i^J'         1                            1                    1 

'              '            i              1 

■    1                           ,            0-1 

\^      h                  h            h 

#    " 

0 

-  0 

■ 

-  1      - 

^^ 


p^ 


$ 


^?^^J^=#=r^j 


r 


tears    o'er  -  flow     mine     eye —        Long  -  ing    tears      o'er  -  flow     mine  eye. 
ech    -  o  in       mine     ear —         Once  more  ech     -     o      in         mine  ear. 


^ 


^1 


.__) ^ *-r^^- 


shad  -  ows    once 
day       in     peace 


I         lay —    Where  'mid    shad  -  ows  once       I         lay. 
may  rest —        I       some    day         in    peace  may     rest. 


m 


137 


HARK,  I  HEAR  A  J0Y0U5  NOTE, 


German,  arr. 


I  'ill 


1.  Hark!     I    hear  a       joy  -  ous      note,     Down  the    val  -  ley     ring    -    ing; 


SfE 


#-v # # #- 


t^dS 


;3EEa: 


i=t 


I 


2.  Look!  how  mer-ri    -  ly       they  come.       Lit  -  tie  friends  in       feath  -  ers; 
# 0 , — ; , ,_^_^=^ 


m 


^m^EE^E^^EE^ 


3:=F 


V 


d=4 


ii^PPg^P^^g 


:i=i=t 


i==g-1-t 


^g: 


:«=«=*: 


ia^=^s=g 


Near  -  er,   clear  -  er,  swells    the  strain,    Spring  is    march-ing     in        a  -    gain. 


ti?Jizi^ 


■#  ■#  -#-25*-  ■#  ■#•  -#-5*- 

Ev  -  ery  tune  -  ful  chant  we       hear      Wish  -  es      us        a      hap  -  py      year, 

, (S , 


m^3^3^^ 


^ — — ^ ^ 


pfeg^Pgi 


^m 


I 


f: 


^=g= 


^-4 


-# #- 


I    r       I 

Brings  the  songsters     in     his     train,        Pip  -  ing,  trill  -  ing,   sing    -    ing, 


f—^- 


P 


&- 


3^5 


3 


5 


-* — #— I — I — ^- 


Joy     and  bless  -  ing     ev  -  er      near,      Love  and    sun  -  ny        wea  -  ther. 


B 


:^±- .    r-i--^^ 


^^ 


ZmZZZi: 


-)^z==.\E 


E 


German,  tr. 


138 


A    ROSY    CROWN    WE    TWINE. 


VON  Weber,  arr. 


1^-=^ 


^-^ 


|=z&z  :i^iii=a|i!?z:5^5Eaz2=4:«=^ 


1.  A     ros  -  y  crown  we    twine  for    thee,  Of     Flo  -  ra's  rich- est 

2.  We    bade  the  fairest  flowers  that  grow.  Their  va  -  ried  trib-ute 

3.  Then  deign  to  wear  the  wreath  we  twine,  Thy  beauteous  ringlets 


lA 


treasure;  We 
ren-der,  To 
shading;  And 


'^k^=f=s=m=^==pss:^=^. 


v^  V  *- 


^r^imr*-' 


mm^^ 


--N-^- 


lead  thee  forth  to  dance  and  glee.  To  mirth  and  youth-ful 
shine  a  -  bove  that  brow  of  snow,  In  all  their  sun  -  ny 
be        its  charms  a     type     of     thine,  In     all,    ex  -  cept     in 


pleas  -  ure. 
splen  -  dor. 
fad    -     ing. 


Chorus. 


fe3d 


-#-T- 


-0-- 


1.  2.  3.    Take, 

-b-y — - 


oh 


take 


the 


ros 


the      ros    -     y 


m 


Take,        oh 


take 


the 


crown, 


the      ros    -     y 


^^EE^^E^i 


SS- 


^=? 


i 


Flo   -  ra's     rich  -  est     treas-ure — 


r— p-c- 


Flo 


ra's     rich  -  est 


*-^ ^- 

treas  -  ure. 


i 


Flo 


ra's   rich  -  est     treas-ure — 

• 0—r— 


Flo    -  ra's        rich -est 


treas  -  ure 


IP 


139 


THE    BREAKING    WAVES    DASHED    HIGH. 


Miss  Brown,  arr. 

^^^ 

£-f^^   ^-^a 

-^        .- 

-^:^ 

h-^—j=^: 

1     ■^-     ) 

^-^4^-r=^,-v-^ # #-: 

^^i: 

fe'" 

^^s-i-'l 

1.     The  break  -  ing  waves  dashed  high 

On     a  stern  and    rock-bound  coast,  The 

2.     Not   as        the    con  -  queror  comes 

They,     the     true-heart- ed 

1 1 

came;  Not 

fVr-ff4 — ^— 

-1 — ^^    1   '  , 

-i-«- 

-^:^ 

=1=i=i— 3— 

1     ^ 

r   ^^  •  '  '  i  ^^- 

-|T^   ^-^  -^ 

L-j -_-- — 1 

5^         -#■ 

3.       A -mid      the    storm  they    sang; 

The       stars  heard  and  the 

seal     The 

4.  What  sought  they  thus     a     -   f ar ! 

M                              1                     1                                K                  -                                                                   1 

Bright    jew -els      of     the      mine?  The 

111                     ^ 

l^^rf  i 

-4           h'       -            H 
-•— r # j 1 

—g> ^- 

— ^ — ^" 

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T-~W=t~- 

P^-^#^ — 

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woods     a-gainst    the    storm  -  y      sky    Their    gi    -    ant  branch-es     tossed ;  The 
witli     the  roll       of      stir  -  ring  drums.  Or    trump    that  sings     of      fame ;  Nor 


gz ,-^ — , — ^v — ^-^-w-^ — ^ #— L-j— 


-^-^~ 


sound  -  ing  isles      of     wood  -  land  rang  With    an    -    thems  of       the     free.     The 
wealth    of    sea,     the  spoils      of    war?    They  souglit    a     faith's  pure  shrine!  Ay. 


II: 


^^^ 


5-^-=^-- 


^ 


^i-i^^ 


140 


I 


S=i= 


^^ 


:«=i=:S: 


lieav  -  y      night  hung  dark,         The  hills  and      \va  -  ters     o'er,       When   a 
as        the     fly    -  ing       come,  In    si  -  lence  and       in        fear,  They 


P 


1 


o   -   cean  ea   -   gle 
call       it      ho   -   ly 


soared       O'er  roll  -  ing  waves  white    foam,         The 
ground,   The  soil  where    first    they    trod,  TLey 


m 


■s-i^ 


G 


i 


-#-^ 


#-v 


band 
shook 


of      ex    -    iles  moored  their  bark    On      wild    !N^ew-Eng  -  land's  shore, 
the  depths    of       des  -    ert  gloom  With  hymns  of      loft  -  y       cheer. 


:d: 


--I 


i^-T 


^JT-^ 


.H_-._^ 


rock 
left 


5      ^ 

ing   pines     in        for  -    est  roared  To       bid     them  wel  -  come  home, 
un-stained  what   there    they  found,  Free- dora      to    wor  -  ship     God. 


M-i ^- 


i 


-#-^ 


-f9—^ 


Mjts.  IIkmans. 


SONG    FOR    DECORATION    DAY. 


141 


^S^i^g 


i=i|=i|: 


I        '•  '^/  I       I      J^ 


s    s 


9—t: 


_  "I 

1.  Sleep, oh  sleep,whereblos-somsaretrail-mg,Niglitcomessoft-ly  to  end    the    day; 
2.  Sleep, oh  sleep,  where  rain-drops  are  fall-ing,Brave-ly  His  banner  ye  bore  in  that  day; 


,^te 


& 


-^— K- 


ri—t 


>-:h- 


:j=:1=t:q=t 


N 


-4— 4-^— -iT^* — *-.-^i^-'--4— 4^^4.— -i-^^'-i— -'--^ 


:^=:fc1=:^ 


jtzr 


-,$1 — I 


3.  Sleep, oh  sleep, where  sun-beams  are  ly-ing,One  trod  be-fore  you  that  dark-some  day; 

-r-r^-l s— # 0 0 0 r 0 0 1 r^ r: Kr K 


-F|7^^ 


_^_^_ 


-A— A- 


-^~^- 


^=^T^ 


•--¥. 


■^-^^-&^^ 


I  '►^    ^     I  I 

Kest,  oh    rest,  where    low  winds  are    wail  -  ing,    Long  was  the  strug-gle    and 

Rest,   oh    rest,  where    wood-birds  are  call  -  ing,    When  the  stars  fad  -  ed,    the 


^^^ 


1 


•^-^ 


4—0 


-^ N 1- 


-^        w 


S  ■4-       -0-       -0-        ^  '  ^^^^■*"_ 

Rest,  oh    rest,  where  grass  -  es    are    sigh  -  ing,    Safe     in    His  keep  -  ing    His 


^feB 


U 


1^^^: 


^— ! 


3: 


-^-^.^ 


1=ij: 


^=it=J^ 


^— r 


4t — '^'— ^ — ^ 


fierce  was  the  fray  —      Long  was  the    strug-gle  and  fierce    was  the    fray, 
stripes  showed  the  way —    When  the  stars  fad  -  ed,the  stripes  showed  the  way. 


t* 


i 


own     shall     stay  ■ 


fezii 


^  ^i^i-  -^    ^ 


Safe    in    His  keep  -  ing  His    own      shall        stay. 


"^^ 


f 


i 


Amy  D.  Marston. 


143 


HOME,    SWEET    HOME. 


4--^^- 


Sir  Henry  R.  Bishop. 


I  I 

1.  'Mid  pleasuresand  pal-a-ces,  though  we  may  roam,  Be  il  ev-  er  so  humble,  there's 


1^  —  i/    ' 


:^-H. 


\ 


lE^|E5E^^E|^p^ilg^ 


2.  An      ex  -  ile  from  home-splendor  daz  -zles  in  vain;  Oh,     give  me  my  lowly  thatched 


^-0 


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J       H    S         N 


0^-0-^ 


no    i^lace  like  home !  A    charm  from  the  sky  seems  to    hal  -  low  us  there!  Which, 


\ 


r=f^E^I^5EE^Ja=£^-i^«fe%i 


cot  -  tage  a  -  gain;  The    birds  sing-ing    gai  -  ly,  that  came  at  my  call;  Give  me 


:r-J: 


fV   A-j-> — -15- 

H 

—K ^^ 

^    1 

1 1 

, 

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-^— *^ 

N    1 

— ^— 

— ^ 

-j^^^i — 

seek  through  the  \ 

L* 

vorld. 

• € 

is     ne'er 

met  with 

— # — 

else-¥ 

rhere. 

Home, 

home, 

them!    and      the 

peace 

of   mind. 

dear  -  er 

than 

-5i 
all. 

Home, 

home. 

l/•^*   #          0*0 

n 

_, 

1            1 

"^•|      1                         1                   u 

r            r        r 

N 

\^ 

\        '  \ 

^— ^b                     'j            ^i 

'             J      J 

1 

9 

1 

2          4    ■   ■■ 

V  \                  ^           \fi 

u y         d 

L-# • 

-1. 

1  . 

143 


sweet,  sweet  home — There's  no  place  like  home —  There's  no       pianolike    home. 


i:^J-^_m^ 


i 


■* — * 


J=H=^ 


*--i 


3H? 


^-r- 


sweet,  sweet  home — There's  no  place  like  home — There's  no       place     like    home 

^ K 1-—. : 1-- — r-T (-- : 1 K — i 1- 


-d-n-^-n- 


I 


V — ^ 


John  Howard  Payne. 


WHEN  VERDURE  CLOTHES  THE  FERTILE  VALE. 


|pf^ligiiiiliiitti&^^^ 


1.  When  verdure  clothes  the  fer  -  tile  vale,     And    blossoms  deck  the       spray; 

2.  Hark!  how  the  feathered  war  -  biers  sing!  'Tis      na-ture's  cheer-ful       voice; 


sliEi^ 


:^=d: 


t=iA 


\ 


-.^^     -#•   -^     -# 


-j. — -^ — ^r  ^ ^^~^  ^ — - 


3.      O     God      of     na  -  ture  and      of  grace,   Thy  heavenly    gifts     im  -  part; 
4.      In  -  sjjired  to  praise,  I      then  shall  join     Glad  na-ture's  cheer  -  ful    song; 


■4- 


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:i=|^H; 


•4-'jr— ^r 


1 


And  fragrance  breathes  in     ev  -  ery  gale     How  sweet  the  ver  -  nal     day! 
Soft  mu  -  sic    hails    the     love  -  ly  spring.  And  woods  and  fields  re  -  joice. 


^        -0-  -0-  -0- 


:=l=t±i 


Then  shall  my    med  -  i    -    ta  -  tion  trace  Spring,  blooming  in     my     heart. 
And    love  and    grat  -  i  -    tude  di  -  vine       At  -  tune  my   joy  -  ful    tongue. 

I 


^=\=\: 


:t==4: 


-F^^- 


g^^ 


tz=zzi: 


fefel 


Anne  Steele. 
1716— 1778. 


144 


SONG    FOR   ARBOR    DAY. 


^ 


£4^- 


i^^E^ 


1.  From  for   -  est       wide      and      free,       We    bring   this        state  -  ly         tree, 

2.  The     les  -   son         we        will     learn,    That     if        sue    -    cess    we'd      earn 


^t 


Ei 


^-^ 


-* — "- 


: T 


3.  If       read 


right,     you        see 


les    -    son       there    will         be 


?-* 


1 h — h 


j^: 


cr^^ 


:^±i 


-^ <r 


tr 


--%^^ 


Long      may     it        wave! 
On         Life's  broad  field. 


I-    r  r 

And      as        its        top  climbs  higher,  Let  each    its 
We     must   look      up        and  grow,  No    fal-tering 


i 


^^^=t 


^— 1^^3 


Of       joy        and      love,        Learned  from    the     grow     ing  tree.    Each  day   and 


m 


^=^ 


F=F 


I 


=i 


P3 


I 


:^ 


III  ' 

growth    in -spire    To       do      and      nev   -    er    tire:*Twill  cour-age       give. 
pur    -  pose  know.  Then  shall     we    plain   -     ly  show,  We'll  nev  -  er      yield. 


P 


i 


^'         ^^~^        "-^       tJ 


r\  ^    ^      ^     a^     l?T^      i' 

night    we'll    be      Near  -  er        the    height     we  see      Far,    far       a 


^ 


:t 1 


-# — ^ 


1=1: 


bove. 


i 


Emma  Shaw. 


SONG  TO  THE   FLAG. 


145 


—m- 


2Eg: 


a^==B=: 


*5::i 


££ 


1.  Wave,  wave,  wave,  While    o  -  ver  land  and  sea.   Waves  our   glad  song  to  thee, 

2.  Wave,  wave,  wave.  Float  high  a  -  bove  the  trees;    Fly     on     the      o-cean  breeze 


i^^¥ 


^ 


-±^-^. 


W-^-9- 


_^ — :^ » :^  ^ 

>.  Wave,  wave,  wave,     All  thy  bright  stars  in  view,   Stars     to     the  Un  -  ion  true, 
-# 9 — , — # # — I r^ 


s 


:f=^ 


^ 


t=^: 


:i=;=*=tit: 


:^^ 


1^- 


1  ;^         '         •  t'         '  i  I  '  »- 

Flag    of   the  no-blefree;  Wave,  wave,  wave — Wave,     wave, 
O  -  ver  the  western  seas;  Wave,  wave,  wave — Wave,     wave. 


wave! 


rte^^^i 


■zti 


qir-c 


t 


Wave    in  the  heavens  blue;  Wave,  wave,  wave — Wave,     wave,  wave! 


fEEF?: 


r^ 


1 


:^=i!: 


r^ 


*  t. 


k 


o ^-5- 


:^ 


-^ 


s: 


:^^^ 


«i=* 


a 


^^ 


^np: 


U6 


Jr 


THE  HARP  THAT  ONCE  THROUGH  TARA'S  HALLS. 

Ikish  Melody. 


ibi 


iHiiPs 


^i 


.--.^ -S— J^ -'^r~* , 


1.   The  harp      that  once  through  Ta    -    ra's  halls,  The     soul      of    mu  -  sic 


A — ^ \ ^- 


— N- 


P 


2.     No  more        to  chiefs    and       la    -    dies  bright,  The    harp       of      Ta    -   ra 


i4--f7 

h— 

^ 

_^^_ 

^ 

# 

1.  r 

# 

N 

shed. 

1      5--E  3-/- 

Now     hangs 

— •— 
as 

— # — 
mute 

on 

Ta     - 

ra's 

walls       As 

^^w 

— ? K- 

^     -      - 

- 

-;;^ ^ 

swells; 

The 

*— n 

chord 

■•-  • 
— y 

a   - 

-9- 

lone, 

— y 

that 

— # 

-K 

lir 
breaks 

— "^ 

— i^ — 

at 

# 
— b 

niglit.  Its 

^^-I'-r — 

/            "^ 



---5^ 



— > ^ d 

^n   u       ^ 

1^ 

] 

_                i^__ 

N 

^ 

ft/-,  p       7 

m 

v 

i^  • 

— r— 

— 0 — 

-s>— 

|/l17    1l       •                     - 

'                             _' 

^a_f — 

# 

# 

0 — 

-     •  •     • 

0 * 

=— ^   .    ' 

# 

if 

D    l-i 

that 

soul 

— # — 
were 

^-w      1 — \ — ' 

sleeps 

the 

pride 

> 

lied. 

So 

of 

V  1  P 

1 

^b-|7— f- 

^— 

N— 

N— 

|k^ 

l«^ 

tale 

€ 

of 

— ;— 

ru 

0 

-     in 

tells; 

•  • 

A 

Thus 

— t- 
free    - 

dom 

-0- 
now 

f 

•0- 
so 

«^'  .. 

; 

1 

?if.  ')        m 

m 

• 

A 

\j 

L/ 

U' 

^— ^^  1l                      ;                 '                 i 

1   , 

1 2-!2_^_ 

/ 

^ — 

^ — 

.     .....     ... 

-,  ,,-    .  .. 

.. 

.,    ^ 

147 


^(\    1-1 

N             N 

N 

^                 K 

1 

S 

f-y ',  7      •         ^ 

n 

er^i,_»_ 

^-— -J « 

~~t •< 

— 1-^ -^—\ 

for 

*     •                     • 

-    mer    days,       So 

glo   - 

ry's      thrill 

— S — 

is 

o'er, 

And 

JLtl^ 

— . .-^1,— N 

r jvZir 

1^ 

H 

sel    - 

0 

dom       wakes,  The 

• 

on     - 

ly       throb 

she 

gives. 

"a 

Is 

«^*  k        1 

1                       '^      ' 

fefcl^i ^ — 

L^ • • 

— « 

— ^ ft- 

■     P- 

w — • 

4-   "I 

RH-^ tr — ti — i 

=t^ ti— 

— U 

* 1 

i/(\    \.        ^            ^ 

,^       -^ 

fS          ^v          ^ 

^ 

N 

V  \V        ^  '           m 

..„J        J          #  • 

N           h. 

»v 

1 

/l  b  U                    • 

#        J 

#  ■ 

0             ■             ^ 

i^ 

! 

1 

I(T\^  V                    f 

*           2  _ 

^        «          L  . 

.  * 

M          d 

::!         II 

vU        ^       M                  1 

P 

•           t        -*    • 

•  ■ 

1 

hearts  that 
n    1-1 

once    beat 

high    for     praise, 

Now  feel   that  pulse 

c     r- 

no       more. 

^     k. 

11 

m^ — i^ ii- 

— .^-zh- 

-J — 1^ — -h ^ 

=^ fl 

where  some 

5^' 

heart  in    - 

dig  -  nant  breaks, 

To  show  that  still 

she 

0  .    JJ 

lives. 

1                  «                  i  J                      ''    - 

=»^-41 

|p>,  7       #         .  ^ 

f           # 

u        f          ^ 

'^1 

>'          ^             ' 

i^H-^ — > 

— L L — 

_U        i, 

— 0 — 

E±      B 

Thomas  Mooke,  1780  —  1852. 


THE   MORNING   STARS   WERE  SINGING. 


^ 


^ 


-*-i 


^- 


• 0 *-#-!-#— r-^ ^J 3 


EEi 


5 


tT=d= 


=f^ 


S— » 


^ 


t 

1.  The  morn-ing  stars  were  sing    -  ing  With  joy  when  time    be  -  gan;  And 

2.  A      high  -  er     song     of     glo    -    ry     Was  sung    in      aft  -  er     days, —       And 


s 


---^-T--- 


#     -*     ■#     :j 


-*— 


E 


-0 


3.    A     mul  -  ti  -  tude    of        voic  -  es   Have  learned  this  ho  -  ly     song;  And 


^^: 


-F=F 


148 


■m=i 


=^ 


i 


-w — i — * — f 


heavenly    peals  were      ring    -    ing   "When  God    ere  -  a  -  ted       man: The 

shepherds  heard  the         sto     -    ry       As       an-  gels  hymned  His  praise,  ..       Of 

i-1 = 


Si 


P 


3^ — 


:il=b::i|: 


l-<»- 


_, ^^—^^. 


earth  with  heaven  re    -    joic    -   es        To       roll    the  sound  a     •    long With 


m 


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-)9 


m 


P 


1=^=^: 


A 1- 


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W==^ 


u  -  ni  -  verse  was        swell   -    ing  With    ju  -  bi  -  lant    de  -  light,  While 

Je  -  sus      in        a  man     -    ger,  God's  well — be  -  lov  -  ed     Son,  Who 


saints  and    an   -  gels     o'er 


us.  Sing  -  ing     be  -  fore   the  throne. 


£ 


We 


3: 


t==l: 


i^ 


-*— ?- 


i=t 


a 


^—^- 


f=tt^ 


3=^ 


lE=r 


all      to      all      were     tell 
came    to     save    from     dan 


ing     The     Lord    Je   -  ho  -  vah's  might, 
ger       A        race    by      sin      un  -  done. 


I 


=i 


9 — -^ — -4~"-4^* — i" 


3^ 


-9 J^' 


join   the   glad   -    some    cho     -     rus,     Glo    -  ry      to      (jrod      a  -  lone. 


^: 


t=t 


^9- 


Thomas  Mac  Kellar. 


149 


FREEDOM. 


Az: 


S 


-0-^- 


-^—W 


^: 


Groos,  arr, 

A 


■ms 


1.  Free-dom,  who  doth  ev    -  er        All     my     be    -  Ing    cheer,      Come  in     all     thy 

2.  When  God's  in  -  spi  -  ra  -  tion      In      the  heart   sinks  deep,  Which,  to     no  -  ble 


*3i 


=± 


~SiL 


i 


E-^ 


For     the  church-es'     al   -  tars,    For     each  lial  -  lowed  grave.    For    our  homes  to 


14-d: 


:^*- 


■<9- 


r=^-_i 


^=^- 


t=t- 


±E3. 


m 


.^L_». 


-^ 


-i-^ 


-^ 


f-L^- 


beau-ty,      Sweet-esfc     an  -  gel     near!      Shall       a  world  en  -  slav  -  ed  Ne'er  thy 
lin  -  eage,   Lov  -  ing    true  doth  keep ;     When    for  right  and  hon    -    or  Men  cour- 


3^3: 


3^ 


:i. — ^^—^ — * 


\ 


It  -^ 


suf  -  f er.      Lib  -  er   -  ty      to        save ;      That      is     re    -  al    cour  -  age.  With  the 


:|^:l: 


g^s 


I 


-^ H 0- 


^ 


t=P 


-^-^-^ 


r-i 


-^ 


hzzM: 


Lfi.-^-^- 


pres-ence  know?    'Mid       the    star  -  ry  heav  -  en     On-  ly   wilt     thou    go? 
a  -  geous  -  ly  Pledge  their  all     for  -  ev  -  er, —  Lives  a     na  -  tion     free. 


I 


3 


3^* 


-*^r* 


-a?- 


heart's    blood  red!        He    -    ro      fac  -  es  glow-ing.  Fair -est  when  they're  dead. 

I 
•g — 


^^m 


^-=:,=^=^==^=i 


Max  von  Schenkendorf. 


150 


THE    MASTER'S    CALL. 


Eller. 


^#— #- 


-w ^ w w i^ M j— ^ 


1.  Through  the  rip-pie    of   the  moments  And    the     louder  surge  of  years;  Through  the 

2.  Are  there  sick  hearts?  see !  He  poureth  Ev  -  er  -  more  the  heal-ing  balm,  And     to 


-- N ^-j — K — ^ 

*     *     i   :? 


Will  you  hear  His  sil -  ver    ac-cents,  An-swer,  " Father,  here  am     I!"   Bear     a 


^^ 


-0 — 0 ^ — N — ^^^l^^^^^^^^^>i^-0 — 0 — 0 — 0 ^■ 

-I ! ^ ! 1 1 1 1 ! 1 '■ 

-^      J      * — ^ ^ ^— h-V — 5^ — '^ — ^ ^- 


■j^ty—^—f'- 

— N ^>- 

— ^-. 

1 — ^~ 

— «i — ^ — 1| — ^— 

j^   0> 

prat  -  tie 
those  who 

r\     1 

of      the 
con  -  quer 

i — ^ — '— 

chil-dren  And 
e   -  vil    Gives 

the 
the 

_~_0 

grief 
vie  - 

of     wo -man's  tears 
tor's  fade-less  palm, 

,  Midst  the 
Lo!     the 

~V",  V 

1                            1 

JL\>       

-X 

K- 

-X- K          -K— ^ 

9d-- — ?*» — ^- 

K -N  — 

^     ^^    i 

H^ 

— ^- 

-^      ^      -^      i( 

J        J^"i 

loft    the 

temp' ranee 

— # 0 — 

It    ■# 

ban-ner  While 

# 
the 

ea  - 

ger  throng  pass  by? 

K K hs — 

0         4 
Hope-less 

^Y   ^     ^ 

-^ 5^ — 

-^ — ; — ;— 

0— 

_  i 

-^ — * — « — ^— 

— 5 5^—-' 

■^^- 


■^^0 


* 


:t: 


«~T^- 


thun  -  der      of     the    bat  -  tie  When  peace  crowns  the  bit  -  ter    strife    Ev  -  ery 
fields  are  white  with  bar  -  vest,  Wait  -  ing     for    the    sic -kle's  gleam:  Days  of 


^ 


tf' » * * rw 

wives    and    sad  -  eyed  cliil  -  dren  Reach-ing  mute,  de-spair-ing    hand.  Pleading, 


151 

m 


^     V  ^     "^     "^     ]j     ]j     \j 

wliere   the     Mas  -  ter      call  -  eth,   Woo  -  ing       to        the      bet  -   ter       life 
sow  -  ing,     then    the       reap  -  ing,   With    faith's  trust  -  ing     song     be  -  tween. 


1/ 
the 


bet 


I 


-N- 


-^ ^ 


^~ 


m^. 


ev   -    er    "To        the      res  -  cue,  Work     for     God,   Home,  Na   -    tive     Land." 

N  N 


_^- 


-^ 9 

Mary  E.  Griswold. 

HEAVENLY  FATHER. 

Arr.  from  Mendelssohn's  "Elijah." 


In  Unison. 


^1^ 


=]: 


i^— - 

Heave n-ly     Fa- ther,  sovereign    Lord,  Be    Thy  glo  -  rious  name  a    -  dored; 

Though  un- wor- thy.  Lord,  Thine  ear;  Deign  our  hum  -  ble  songs  to  hear; 

While    on    earth    ordained  to       stay.  Guide  our  foot  -  steps  in      Thy  way, 


Lijrd, 
Pur  - 
Till 


Thy 

er 

we 


mer  - 
praise 
come 


-i — 0- 

cies  nev    -    er        fail.      Hail,    ce    -   les  -    tial    good-ness,  hail! 
we    hope     to       bring.   When    a    -    round  Thy  throne  we     sing. 


to    dwell  with     Thee,     Till     we 


all 


Thy   glo  -  ry      see. 


-♦       V-x-  —  ■* 


^M- 


-t--m 


ri^ 


=^^,=^^^t^^l=^i^^^ 


:?: 


m 


1 


lizii: 


1^ 


:S: 


t 


-z?- 


Salisbury  Collection. 


153 


LOOK    NOT    ON    THE    WINE. 


i^&-i-s 1 1 

1 1 

Mueller. 

1 1 \ — 

bf^^^    i        i 

— i !        ! 

— -^ 1 

-ST. 

fe-^    *        • 

— i 

— 1 — ^ — 

-« 1 

J 

— # — 

—J — — ^- 

n  ^ 

^ g 1^ 

1.  Look      not 

2.  Though  it 

' — tf 

on 
seem 

to 

wine 
thee 

r 

which 
like 

glow  - 
nee    - 

eth 
tar, 

1 — ^ • . 

With      its 
"Touch  not, 

if-^* 







m-^ \ 1 

— H -H— ^ 

— 1 \ 

-1 

-H — 

-—^ ^ = 

^       4      J 

3.  Trust     thy    - 

4.  He          is 

-0- 

self 
'  might  - 

not— 

y 

1 

in 

to 

1^ 
thy 
de      - 

weak  - 
liv    - 

-#• 

ness, 
er," 

Let       this 
He        will 

1           n 

/^\»  i 

or            P 

1              ' 

f 

« 

1 

"-/*  i 

^1             1 

^ 

m 

— 1 1 

— J A 

-    H # 

—A 

^    4      H ^ 

— 1 1 

h    ^          * 

:    J 

i=d 

p 


rud 
han 


P 


dy 
die 


crim 
not. 


son 
nor 


light; 
taste:" 


Though     'tis      crowned      with 
"It         will         bite         thee 


^ 


^:^ 


be 
hold 


thine 
thee 


ear  -    nest 
with     His 


plea; 
arm: 


-     *      *      '  ^ 

Lead      me,  Fa    -     ther. 

And    though    fierce         may 


m 


sz 


I 


t-J^ 


i 


-• p^-4 ^ 

I 

spark  -  ling       jew   -   els.      Dash        it        from 
like  a         ser    -   pent,"  And        thy       life 


your  yearn  -  ing        sight, 
blood    it         will      waste. 


P 


i 


E 


-»-— — -*- 

me      from       this         e 
will      keep       thee      safe 


.  1^  ■#  ♦  ♦  T^ 

\       from      temp  -    ta    -    tion,    Keep 
be  the      strug    -  gle.      He 


vil        free.' 
from   harm. 


m 


i 


t&- 


SusLE  V.  Aldbich. 


tea 


V 


N       ! 


TRUST. 


153 

A.  Randeqger,  arr. 


B? 


-rjur 


-a — #- 


I=^EH 


-#-^-#- 


:g — *~ 


1.    Sad  -  ly  bend  the  flowers,       In     theheav-y      rain;  Aft  -  er      beating 


i 


Y^^- 


fc^ 


*3it±5z:i: 


-i^ — *- 


2.  When    a    siid  -  den  sor-row  Comes  like  cloud  and  night,         Wait     for  God's  to - 


E 


g^—  I       u^— 7-7- 


E 


showers.  Sunbeams  come  a  -  gain. 


Lit  -  tie  birds  are  si  -  lent  All  the  dark  night 


Y-?^- 


v-± 


A-^-^- 


N 


-m—i-0- 


0—0—:^ 


t=t- 


-0 — #- 


mor-  row ;    All  will  then  be     bright.  On  -  ly  wait  and  trust  Him,  Just  a  lit  -  tie 


fcSEES 


-« ^ 


■0 #- 


•p-^-7-7- 


# ^- 


fc±-'z±4: 


-^ — ft- 


I 


--Si 


:^^-^ 


|7^S-T-g-?-7- 


azne: 


* — ^ 


* — w- 


•0-  .-0-    ^^ 


through ;    But  when  morn-ing  dawneth,  Their  songs  are  sweet  and    new. 


-7^- 


1=1: 


tzt 


i5i: 


m^ 


13 


while ;         Aft  -  er  eve  -  ning  teardrops  Shall  come  the  morning      smile. 


•-^-#- 


-b-7-7- 


-0-^—0 0 -f 


-* — *- 


S; 


m 


m. 


I  I 

Frances  Ridley  Havebgal. 


154 


HOLY,  HOLY,  HOLY  LORD. 

Joiix  Sebastian  Bach,  arr.  1685 — 1750. 


I        I 

1.  Ho  -    ly,       ho  -  ly,      ho    -  ly,     Lord !        Be  Thy     glo-rious  name  a  -  dored ; 

2.  Though  un-  wor  -  thy,  Lord,  Thine  ear.       Deign  our    hum-ble  songs  to      hear: 


:1: 


m 


t=r- 


i 


E^i^ 


^ — ^ — , 

3.  Lord,  Thy      mer  -  cies     nev  -  er      fail;      Hail,    ce  -  les  -  tial    good  - ness,  hail. 


X 


iE^E 


-^ 


I 


:^^=^=t 


3 


i 


I 


f 


£f=f 


'f-ira 


Lord !    Thy  mer  -  cies    nev  -    er        fail ;     Hail     ce  -  les  -  tial     good-ness,  hail ! 
Fur  -    er     praise  we      hope    to     bring,    When  a  -  round  Thy  throne  we  sing. 


S 


n- 


\ 


^ 


3=1=::1= 


t=]=:1: 


-25^- 


Ho  -  ly,        ho  -  ly,       ho  -   ly        Lord !     Be     Thy  glo  -  rious    name  a  -  dored 


f^^-^^ 


;E=t 


-#— it 


cizt 


I 


lA 


Benjamfn  Williams,  1783. 

THEY    WHO    ON   THE    LORD    RELY. 

German  Choral. 


PfEJ 


x=t 


^=r 


1 


1.  They  who    on   the    Lord  re  -  ly.  Safe -ly  dwell,  though  dan-ger's  nigh; 

2.  Vain  temp-ta  -  tion's  wil-y     snare;    Chris-tians  are        Je     ho  -  vali's  care; 


wM 


A 


\ 


*— -^ 


E5 


3.    When  thy  wake,  or  when  they  sleep, 


An-gel    guards  their  vig -ils      keep; 


■1-H— 

-^ 

*        • 

-I 

(^kk^i. 


e^ 


^F=F 


m^^ 


m 


a=j 


r^'^r 


155 


ill 


Lo !  His  shel-tering  wings  are  spread,   O'er    each    faitli-ful    ser-vant's  head. 
Harm-less  flies  the    shaft  by      day,        Or       in        dark-ness  wings  its    way. 


-^ 


■♦       It- 


— — — — :^— tpH— 


^ 


m^ 


Death  and    dan-ger      may  be      near;        Faith  and  love  have  nought  to    fear. 


g^jti   I   ,- 


m=^^ 


i^^ 


3^i 


-# 0- 


I 


H.  T.   Lyte.  1793—1847. 


1^3 


MY    SHEPHERD  WILL  SUPPLY  MY  NEED. 

Nic  GLAUS  Herrmann. 


:q: 


=J— • 


-J 1 L 


gp^ii^ppJ 


1.  My    shep-herd  will  sup  -  ply     my    need ;    .Te    -  ho  -  vah     is    His    name : 

2.  He  brings  my    wan-deringspir-it     back,  When  I        for  -  sake  His    ways; 


:fc3 


fcS4=t3 


*=^ 


-; — i-\=-^=i 


hd-^^^^^ 


3.  When  I  walk  through  the  shades  of  death.  Thy    pres  -  ence    is    my     stay; 

#^ r- n-^-r- '      '       -j—^ 


Ki^; 


_• _*_ 


x=t 


^- 


m] 


J, 


:fc=d: 


:t2zzf*z 


!_ 


3^ 


:ij=::3z=p:qz=q: 


:zil=3: 


3izif: 


=g=l! 


I  I  I  I     1 

In     pas-tures  fresh  he    makes  me    feed.  Be    side  the    liv-ing        stream. 
And  leads  me,    for    His     mer-cy's    sake,  In  paths  of    truth  and      grace. 


:t4 


N 


^-^f^^ 


^3^ 


, 0- 


t=t 


X=ir_A=-A- 


;^l 


fcfe 


s 


A    word    of     Thy  sup  -  port-ing  breath  Drives  all  my  fears    a    -     way. 

33E 


t=4 


E 


11 


156 


AWAKE,    MY    SOULl 

^^^    F.  H.  Babthelemon,  1741—1808. 


4^ 


1.  A  -  wake,      my 

2.  All     praise        to 


soul,  and  with  the  sun  Thy 

Thee,        who  safe  hast        kept.         And 


3E-l^i 


\ 


3.  Di 


lit         lit         g:         :? 

rect,        con     -     trol,         sug    -    -      gest. 


this         day, 


All 


ii*=^ 


m 


EE 


g 


=e 


:S=z»t 


F 


M 


dai   -    ly         stage     of         du    -    ty         run;  Shake    off      dull     sloth,    and 
hast      re    -    freshed  me     while      I         slept;  Grant,  Lord,  when     I  from 


a 1 m- 


S  :;       S       *      *:?   5 

I         de    -    sign,      or         do,        or         say,    That     all       my   powers,  with 


^^-ft — #        *^  — ^         ^ F^ *        I  i- 


i 


^^^ 


tzi* 


joy     -     ful      rise       To         pay        thy 
death      shall  wake,       I         may         of 


morn  -  ing      sac    -   ri     -     fice. 
end   -   less      light  par    -    take. 


p 


#— l^-T 


__j^ 9' 


-^TTi^'^ 


V  5  -  -  -5 

all        their  might,      In        Thy        sole        glo    -    ry       may 


nite. 


^ 


^=^_ 


Bishop  Thomas  Ken,  1687—1711. 


NOW    THANK    WE    ALL    OUR    GOD. 

M.  RiNCKart,  1586—1649. 
'        '        '         '  3=4: 


157 


:^ 


i=j=zBE| 


1.  Now  thank  we      all    our     God,      With  heart   and  hands  and    voic      -     es, 
Who  won-drous  things  hath  done,      In       whom  His  world  re  -    joic      -     es; 


l=:=l: 


3EE3 


-^-¥- 


^ 


r  '     *    ^    :?    *<_:i^  ut 

2.  Oh,      may  this  boun-teous  God    Through  all     our    life     be       near         us. 
With  ev  -   er      joy  -  ful    hearts     And    bless  -  ed    peace  to        cheer       us  ; 


4^-f 


±z± 


iT^E^t: 


_^-i. 


;e=e; 


-/r 


n 


;EE: 


m 


Who    from  our  moth-er's         arms       Hath    blessed  us     on     our      way,        With 


t"^^:^- 


And    keep    us      in        His     grace,      And      guide   us    when  per  -  plexed,     And 


:E^ 


0—^ 


i^ 


I 


rx 


^ 


S- 


I  "  III 

count  -  less    gifts      of         love,  And        still .    is        ours     to      -    day. 


I 


free       us      from     all 


ills 


In 


this    world    and        the      next. 


m. 


-&-r 


I 


-* ^- 


JOHI^  Cruegek,  1598—1662. 


158 


O    PARADISE. 


g2z^zq=|:qi=z:^;i=q==q: 

3_^_L^      0 0 0- 


J.  Baknby,  arr. 


3 


1.  O    Par   -    a  -  dise,    O      Par 

2.  O    Par   -    a  -  dise,    O     Par 


a  -  dise,  Who  doth  not     crave  for     rest?  Who 
a  -  dise,  The  world  is     grow-ing     old ;   Who 


:i1: 


:=1=1=1: 


r5== 


3.  O    Par   -    a  -  dise,    O     Par   -    a  -  pise,    I     great- ly      long    to      see      The 

4.  O    Par   -    a -dise,    O     Par   -    a  -  dise,    I      feel' twill  not     be      long;    Pa 


'A- 


^^^ 


tq=i 


:^4j: 


-i 


:N: 


-3^1 


would      not     seek    the      hap  -  py  land,  Where   tliey     that     love     are      blest? 
would     not     be         at       rest     and  free,  Where    love     is        nev   -    er       cold? 


:=|: 


:^ 


::^-J 


■#    fe-I 


■^.^--r-g. -^- 


spe    -    cial  place  my       dear  -  est  Lord     Is        des  -  tin    -  ing      for 
tience!     I        al  -  most     think     I    hear    Faint    frag  ments     of       thy 


EE 


E 


me; 
song; 


Where    loy 

:b=±         ' 


al 


hearts  and 

i 1- 


true 


P 


Stand    ev    - 


the 


S 


r — \ 


■=%■ 


Where     loy    -    -    -     -     -     al     hearts  and      true    Stand    ev 


the 


Ek 


— » — 

the 


Where      loy al     hearts  and      true   Stand   ev    -    er 


S-riz: 


-t^ 


E 


-± 


;^=fe 


159 


1_. 


■-^^=^=3^ 


w—ir 


I 


I     r 

light,    All        rapture  through  and  through,  In  God's  most  ho  -    ly 


sight. 


;B3 


^Pi^ 


II 


:^ 


a-=3 


— 5(- 


0-^ 


•^    irr 


light,    All        rapture  through  and  through,  In  God's  most  ho  -    ly  sight. 


g; 


-<5^ 


:t: 


^1 


^.^S5 


F.  W.  Faber,  1815—1863. 

MY    SOUL,    BE    ON    THY    GUARD. 

English. 


m%. 


-1^- 


:i=t^=S 


t- 


^^f7 


qz=p-q=z:q: 
-J ^^- 


:S=::=^ 


^: 


z]=:r=: 


<5'-^^— ^25»- 


1.  My    soul,  be      on        thy       guard;      Ten    thou-sand  foes     a-    rise;         The 


-(!? 


!^- 


:z± 


I 


-^         Sr 


:d: 


-^    -<^    -^     -s*- 


-25^-" 


Oh,  watch,  and  fight,  and       pray;        The  bat  -  tie  ne'er  give    o'er;  Re 

1 , fZ. 


M^=^- 


^:M: 


?^=1: 


t=^ 


3^3 


^i?=e=^ 


d=i 


«? — ^- 


^ — «*- 


t=^: 


-s*- 


--^- 


;I^Si 


q;=i: 


I 


:=]: 


f=r=t 


1^^ — '-/fi'- 


i 


#. 


hosts  of        sin    are      pressing  hard    To    draw    thee    from  the       skies. 


:j^3: 


3±d: 


3 


:=l=J=t 


i 


new    it       bold-ly        ev  -  ery    day,  And  help     di    -  vine     im    -     plore. 


M^. 


LP 


x=^ 


E 


1 


:^— pa: 


JE 


■(2- 


i 


Heath, 


160 


MY    COUNTRY!  'TIS    OF    THEE. 

Henry  Carey,  1740. 


yp  ji 

1           .J           _1 

.] 

■ 

— 1 

1 — 

1            -A \ — 

— '^      -H      H 

%^   'i — J — 

— J — 

— ^— 

4 H ^— 

— 5 — f — i — 1 

t- 

~  i    P   ^ 

k>  1*     4      ^ 

2 

-  -  ^ .    - 

5          • 

•      * 

1.  M? 

2.  My 

# 

coun 
na 

-  try! 

-  tive 

0  • 
'tis 
coun  - 

of     thee,    Sweet  land      of 
try,  thee  —  Land     of       the 

lib  - 

no    - 

er  -   ty, 
ble    free  — 

V    ft  *l 

t  "J                                          1             ».        . 

1              fc.         1 

n\     4       i           1                      i             ^       1 

M                   -\ 

1        ^     1 

v^\)    4      1                                 n           ^        i 

-0                  -j                  -4 

3.  Let 

4.  Our 

mu 
fa  - 

-  sic 
thers' 

■ 

#  • 

swell 
GodI 

I 

the  breeze,  And     ring   from 
to     thee,      Au  -   thor     of 

v        1 

all 
lib    - 

the    trees 
er  -   ty, 

^"s*  4t  o     # 

p 

m 

"1 

^i    h— 

— #-. 

—s m 

1- ^ m 

— • it A 

r^-^-i-     h    - — 1 

! 

-^       r 

^ — ^—^ — J 

E 


Of    thee     I 
Thy  name   I 


sing; 
love; 


f=T 


Land    where    my       fa    -  thers  died !  Land    of     the 
I  love      thy     rocks     and  rills;  Thy    woods  and 


m 


f 


Sweet  free-dom'  s   song ; 
To    Thee  we       sing; 


Let       mor  -  tals    tongues    a- wake;  Let      all     that 
Long    may     our    land         be  bright ;  With  free-dom' s 


^ 


£ 


I 


U 


m 


d: 


i=t 


^ 


t=i=. 


-»-*■ 


^ 


-#— ^ 


<&- 


Pil-grims'  pride !  From    ev  -     ery    moun  -  tain  side        Let     free  -  dom    ring, 
tem     pled  hills ;  My        heart  with     rap  -  ture  thrills,   Like    that    a    -   bove. 


P 


"r-r 


a^ 


-m-^-^- 


liT*— * p-^ 


breathe  par-take;    Let     rocks  their   si  - lence  break, —  The    sound    pro  -  long, 
ho    -  ly  light;    Fro-  tect      us        by      Thy  night,  Great    God    our    King! 

H 1 1-  ' 


^ 


\=±^ 


■zt^ 


^^ ft- 


t: 


1 


^ 


Bev.  S.  F,  Smith,  D.  D.  1832. 


lU    H7070 


